Om, Swastika and Shivalinga

Transcription

www.truthlingo.co.uk
¬
Aom, SviStk Ane i=vil&g
Om, Swastika and
Shivalinga
6o. nris&h-a: mgnlal p4el
(wkavaXa)
Jgt jagr8 pBlIke=n
Dedication
My reverend mother Kuwarben
Inspiration
Sanatan Culture
Credits
Snehaben and Priyesh
For their special assistance
Price
Fifty Rupees
Copyrights
All rights reserved
Contact
Dr Narsinhbhai Maganlal Patel
Through Publisher
First Edition December 2005
Publisher
Jagat Jagaran Publication
Seri-2, Laxmipura, Palanpur
Banaskantha District
Gujarat State, India
p/Stavna
Aa puStk me& smju mansvaXa Ane wTsuk va&cko ma4e l~yu& 2e.
A&0[a¤avaXa Ane bui¤vihn va&ckoAe AhI& j 9o-I jvu&.
snatn s&Sk<itma& iviv0 ivcaro Ane 38a hetuAo d=aRvva ma4e
s&}aaAo Ane Aak<itAo vpray 2e. tema&nI mu~y {a8 (Aom,
SviStk-ca&Llo Ane i=vil&g) pa2X 2Upayelu& sTy AhI&
cok\sa:9I btaVyu& 2e. mara la&ba v`tna W&6a mnom&9n Ane
vE}aaink ivcarsr8I9I te vqoR9I gU&cvayela kok6ano Aap8a
¢iqmuinAoAe go5velo saco wkel jo: =Kyo 2u&.
Aom A9va Aomkar m&{a Aap8e b0a ja8IAe 2IAe. te wCcar
d=aRvva Aap8e ¬ s&}aano wpyog krIAe 2IAe. te s&}aanI
wTpi]a kevI rIte Aap8I pura8I srSvtIisN0u s&Sk<itma&9I 9:
htI te Aa puStkma& ivgtvar9I AaPyu& 2e. gujrat p/a&t
srSvtIisN0u p/de=no Aek AgTyno -ag hto. pura8I mhan
srSvtI ndIna p4nI nvI =o09I te nKkI 9yu& 2e. ¬ s&}aano -ed\
jaher krva9I Aomkar m&{anI snatn s&Sk<itma& Aa)yaiTmkta
Ane AgTyta Ao2I 9tI n9I. tenI wTpi]anI ja89I Aap8ne
pUrto ~yal Aave=e ke Aaid snatn s&Sk<it vE}aaink paya wpr
rcayelI 2e. ¬ te b/×a&6na sjRnno nad 2e. tene sevva9I
AaTmanI W&6a: Ane b/×a&6nI 2eLlI hdno ~yal Aave 2e.
SviStk A9va sai9yo Aap8e b0a j =u- p/s&goma& (lGn
vgerema&) vaprIAe 2IAe. te m&gXnI in=anI 2e. te Aak<it p8
Aap8I pura8I srSvtIisN0u s&Sk<itna `&i6yeroma&9I (0oXavIr,
raÌg/hI, banavlI vgerema&9I) p(9rnI 5IkrIAo wpr kotrelI
mXI AavI 2e. te s&}aanI wTpi]a sUyRdevnI Aak<it wpr9I AavI
htI. pura8I snatn s&Sk<itma& sUyRnI AgTytano Aap8a
pUvRjone phele9I j ~yal hto. sUyR vgr ko: @v peda 9ay nih
Ane @ve nih. sUyRnI Aak<itma&9I vXI sa0uAo je s&}aa ( )
3
kpaX Ane bahu wpr vapre 2e te p8 AavI htI. tenI vpra=9I te
loko btave 2e ke sUyR jgtno SvamI 2e. sUyRnI te s&}aama&9I
ca&LlanI s&}aa p8 AavI htI. Caa&LlavaXI yuvtI jaher kre 2e
ke tene SvamI 2e. p8 hve ca&Llo S{aIAo ma4e fKt =8gar bNyo 2e.
-artna drek gamma& i=v@nu& m&idr jova mX=e. i=v@na pUjnnI
=£Aat p8 srSvtIisN0u s&Sk<itma&9I 9: htI. srSvtI ndInI
AgTytane lI0e i=v@no ivcar Ane temnu& Aak<itkr8 9yu& htu&.
i=vil&g =Bdno A9R p(9rno pha6 (i=v=p(9r, il&g=pha6)
9ay 2e. sUyRnI Aak<itma&9I AavelI s&}aa tmne i=vil&g wpr
d=aRvelI jova mX=e. brf9I 2vayela kEla= pvRt wpr sUyRna
ikr8o p6va9I pa8I vhetu& htu& jema&9I srSvtI ndI vhetI htI. te
p(9rna pha6ma&9I peda 9yelI srSvtI ndI @vnna p/a8 jevI
htI. te9I Aap8e srSvtI ndI jema&9I wTpNn 9: teva
i=vil&gnu& (pha6nu&) pUjn krIAe 2IAe. i=vil&g Ae4le il&g+yonI
(pu£q Ane S{aInI jneiN±yo) A9RvaXI AKklna bardan lokoAe
p/cilt krelI maNyta sacI n9I. kX=ma&9I trpta pa8I Ane
i=vil&g wprnI sUyRnI s&}aa ivqe saco ~yal AaVya p2I Aa
ivqe purtI smj8 p6=e. srSvtI ndI sukavanI k£8 34na9I
Aap8e i=vil&g ( ) pa2X 2Upayelu& sTy -UlI gya hta.
Aa puStk va&cva9I Aap8I jUnI s&}aaAo kevI rIte =£ 9: htI
tenI sacI hkIkt ja8va mX=e Ane te9I pura8I snatn
s&Sk<itma& Aap8o iv¿vas W7 bn=e.
2eLle mne j£rI mdd ma4e mara 3rna smuben, =Eleq, wqa, -UpeN²,
Sneha, ip/y&ka, ip/yeq Ane ivvekno hu& ‚8I bNyo 2u&.
jy -art
6o. nris&h-a: mgnlal p4el
låmIpura, palnpur, gujrat
poq 2062, 6IseMbr 2005
4
Anuk/mi8ka
p/Stavna
3
1 Aom ¬
7
ATyare vpratI AomnI ¬ s&}aanI wTpi]a kevI rIte 9: htI te AhI&
s&=o0n9I Aak<itAo AapIne smjaVyu& 2e. Aom SvrnI =£Aat
Aap8a vEidk yug v`te 9yelI Ane Tyare ic{a9I tene btavvama&
Aavto hto. Tyar p2I devnagrI ilipma&9I ¬ s&}aa bnI htI.
2 SviStk Ane ca&Llo
14
SviStk Ane ca&Llo sUyR ma4enI s&}aaAo 2e. vEidk yugnI =£Aat9I
sUyR d=aRvva kevI Ane ke4lI Aak<i]aAonI vpra= htI te smjaVyu& 2e.
3 i=vil&g
24
i=vil&g =u& d=aRve 2e Ane tenI =£Aat kevI rIte 9: te btaVyu& 2e.
ATyarnI i=v@nI p/itmama& btavvama& AavtI s&}aaAono saco
A9R =u& 2e te ivgtvar9I smjaVyu& 2e.
Aa p2Ina& p/kr8o A&g/@ma& va&cvavaXaAo ma4e AaPya& 2e.
English version of the above chapters.
Content
Introduction
41
4 Om ¬
43
This chapter describes the evolution of the Om ¬ sign
which is being used in the modern Sanatan culture.
5 Swastika and Chanllo
52
Swastika and Chanllo are pictorial representation of the
sun from the Vedic age. Their evolutions along with
other configurations of the sun are described here.
6 Shivalinga
64
What is represented by the Shivalinga and the pictorial
attributes on Shiva’s human form are deciphered and
explained here. Prevalent beliefs for them are not true.
5
Aak<itAonI yadI
1 srSvtIisN0u p/de=nI hd btavto nk=o
9
AhI& pura8a srSvtIisN0u p/de=nI hd Ane jUna& S9Xo
btavvama& AaVya& 2e.
2 sUyRnI s&}aama&9I ca&LlanI wTpi]a
22
sUyRnI s&}aama&9I ca&Llanu& ibNdu& kevI rIte AaVyu& te AhI&
sic{a btaVyu& 2e.
3 i=vil&g jeva& kElas pvRtna& d/+yo
35
kElas pvRtna& W+yo AapI AhI& i=vil&gnI Ane
nagnI p/itmanu& jo6a8 kevI rIte AaVyu& te btaVyu& 2e.
List of Figures
1 A map showing the area of the
Saraswatisindhu civilization
9
The area of the Saraswatisindhu
civilization is indicated here.
2 Creation of Chanllo from Symbol
22
These photographs show how the
sun symbol became Chanllo.
3 Views of Mount Kailash vs the
Shivaling
Pictures of the Mount Kailash Showing
similarity with the Shivalinga and Naga
shaped (Cobra hood) rock at the summit.
6
35
É Aom ¬
Aap8I pura8I snatn s&Sk<itma& Aomkar m&{anI Ùbj
AgTyta 2e. tene jgtnI wTpi]ano Svr khevay 2e. Aa0uink
là8oma& Aap8e je s&}aa (¬) vaprIAe 2IAe te `re`r to
devnagrI ilipma& tena wCcarna là8nI s&ixPta 2e. tenI
AagX wpr ivgtvar9I 28av4 krI=u&. snatn s&iSk<tIma&
AavI 7ol-rI s&}aaAo Ane Aak<itAo vpray 2e. temne 2I2rI
njre jota& Aap8ne temna A9RnI sacI smj8 p6tI n9I.
kdac 38ane te s&}aaAo Ane Aak<itAo haSyaSpd Ane
mU`RtavaXI lagtI h=e. pr&tu drek ma8sne temno p/acIn saco
A9R =o0vanI Ane temnI wTpi]anI ik/yanI pa2X rhelu& rhSy
ja8vano Aan&d Anoò Ane AÙ4 Aav=e.
Aom s&}aana& W&6a& mUX Aap8I pura8I yog p³itma& 2Upayela& 2e.
Aaid kaXma& manvoAe AiGnno wpyog =£ kyoR hto Tyar p2I
grmI ma4e tap8I krI 4oXe besta hta. tap8I same 4gr 4gr
la&bo v`t jova9I ma8sne Anoò manisk Anu-v 9to hto.
te Anu-vma&9I yog p³itnI
=£Aat 9yelI. ga&jo, somrs
(¢gvedma& j8avelo) vgere leva9I
9tI manisk piriS9it jevI j
piriS9it tap8I same jova9I W-I
9tI htI. Aaje p8 sa0uloko 0U8I
krIne tenI same )yanyog kre 2e.
AhI& tem )yanma& be5ela Aek sa0unI
2bI AapI 2e. Aaid manvne Aam
)yanyog krva9I =rIr Ane mans
wpr =a&itnI Ùb j sarI Asr 9ay
2e teno ~yal AaVyo hto. te sarI
AsrnI yoGy jGya Ane yoGy v`te wTpi]a krva ma4enI
7
Dr Narshinhbhai M Patel
ik/yaAonI tem8e =o0o =£ krI htI. te =o0oma&nI Aek =o0
Aomkar m&{ana stt r48 Ane W&6a mnn9I te AvS9a W-I
krvanI htI. Aa ik/yane yog p³itnu& nam Aapvama& AaVyu& htu&.
yog Ae4le AaTma Ane =rIrnu& jo6a8. Aa p³itna wpcar9I
ma8s AaTmanI W&6a: Ane b/×ma&6nI hdno ~yal lavI =ke 2e.
sat hjar9I v0are vqR phela& srSvtIisN0u p/de=ma& snatn
s&Sk<itnI =£Aat 9: htI. Aak<it-1ma& pura8a srSvtIisN0u
p/de=nI hd btavto nk=o AaPyo 2e. te pura8a p/de=ma& srSvtI
Ane isN0u ndIAo vhetI htI. isN0u ndIno p4 lg-g ATyare 2e
tem j hto. srSvtI ndIno p4 rajS9an, is&0 Ane gujratma&
tene smaNtr p8 pUvR id=ama& hto. kEla= pvRtma& tenu& mUX htu&.
ihmaly Ane i=vailk pvRtoma&9I =£ 9yelI 38I ndIAo tene
mXtI htI. pa&c hjar vqR phela& p<(vIna p6na hlnclnne lI0e
(Plate Tectonics) 0rtIk&p 9va9I te ndInI sukv8InI
=£Aat 9: htI. tenI =aàAo 0rtIk&pnI Asr9I tene mXtI
b&0 9va9I tenI sukv8Ina g8e= m&6a8a hta. Aaj9I car
hjar vqR phela& te suka:ne Aekd\m -a5o 9: g: htI. vXI te
v`te lg-g {a8so vqR su0I AaÌ duinyama& dukaXnI piriS9it
(El Ninio) rhI htI. te9I srSvtIisN0u p/de=ma&no 38o ivStar
r8ma& ferva: gyo hto. Aa piriS9itna Aa3at9I Aap8e te
iv=aX Ane -Vy srSvtI ndIne Aaà -artma& -UlI gya hta.
fKt p/yagma& i{ave8I (g&ga, jmna Ane srSvtI) s&gmma& Ane
Aap8a =aS{aoma& teno wLle` krelo rhI gyo hto. v`t psar
9ta& tene 38a loko kaLpink ndI trIke g8va laGya hta. às
krIne pi¿cmna ivμanoAe AayoRnI c6a:no ò4o tkR (Aryan
Invasion Theory) krIne te kLpnane W7 bnavI htI.
2eLla pa&{aI= vqRma& 9yelI nvI =o0o jevI ke A&tirxma&9I pa6elI
2bIAo vgere9I srSvtI ndIna pura8a p4nI =o0 9: 2e.
ATyare Aap8e ja8IAe 2IAe te p/ma8e srSvtI ndIno pura8o
8
9
p4 tu4elI bev6I lI4I9I Aak<it-1ma& btavvama& AaVyo 2e. tema&
tenI ke4lIk jUnI =aàAo p8 btavI 2e. -artna vE}aainkoAe
(Indian Institute of Ocean Technology) :.s. 2002na
jaNyuAarIma& `&-atna Aàtma& nv hjar vqR phela& 6UbI gyela&
be =hero =o)yanI jaherat krI htI. te =hero srSvtIna ka&5a wpr
hta& tem manvama& Aave 2e. te kar89I hve Aevu& ivcarvama& Aave 2e
ke Ait pura8 kaXma& srSvtI ndI gujratma& kC2 trf9I nX
srovr Ane lo9l b&dr9I `&-atna Aàtma& 5lvatI htI
(juAo pana 45 wprno nk=o). te srSvtIna ka&5a wpr Ane
Ì8ma&na Aa[amoma& ¢iqmuinAoAe ¢gved, samved, yjuRved,
A9Rvved, wpinqdo, vgere vedonu& là8 kyuR& htu&. te là8o phela&
Aom m&{anI (¬) =£Aat p8 srSvtI ndIna ka&5a wpr 9: htI.
srSvtIisN0u p/de=na& 38a& juna& =herona& (0oXavIr, mohnjo6ero,
lo9l b&dr, raÌg/hI, banavlI, vgere) `&i6yero gujrat, is&0,
p&jab Ane rajS9anma&9I mXI
AaVya& 2e. te `&i6yeroma&9I p(9rnI
su&dr kotr8IvaXI 5IkrIAo mXI
AavI 2e. te pa&c hjar9I v0are
vqR9I junI p(9rnI tktIAoma&nI
Aek AhI& te v`tna là8vaXI
btavI 2e. te tktInI Aak<itma&
kU&6ama& (p<(vI) 2o6 (@v) ropelo
btaVyo 2e. te ic{a btave 2e ke 0rtImata @vonu& poq8 kre 2e. te
ivcar p8 Aomkar m&{ama& go5vayelo 2e. te9I pura8a Aomkar
nadne d=aaRvva ma4enI te Aak<it srSvtIisN0u p/de=ma&
bnavvama& AavI htI tem manvama& Aave 2e.
srSvtI ndIna ka&5a wprna& =heroma& làtI ilip Ane junI
s&}aaAo wpr9I p/9m b/a×I ilip Ane tema&9I jyare devnagrI
ilipnI =£Aat krI Tyare te Aomkar m&{a wpr9I v Axr
10
bnavvama& AaVyo hto. AhI& wprvaXI Aomkar m&{anI 2bI
wpr9I bnavelu& reàic{a AaPyu& 2e. te reàic{a p/ma8e hju p8
kNn6 Ane telugu -aqaAoma& Aomkar m&{anI s&}aa j8avvama&
Aave 2e. te reàic{ane nevu& A&=e fervIne p8 btaVyu& 2e. tem fervelu&
reàic{a Ane v AxrnI saMyta Aap8ne co~Ì deày 2e. Aa
rIte j bIja b0a devnagrI ilipna AxronI go5v8I ja8Ita
wCcaro wpr9I -artna ivμanoAe ibharna pa4lIpu{a =herma&
A7I hjar9I v0are vqR phela& krI htI tem manvama& Aave 2e.
Aomkar m&{ama& bIja b0a nad smayela 2e tem snatn s&Sk<itma&
manvama& Aave 2e. Aomkar m&{a {a8 Axrono bnelo 2e (A-v,
Ao-v¨ Ane m-e). Aam te wCcarne devnagrI ilipma& vë-Aom
là89I l`vama& Aave 2e. te Aomna là8ne z6p9I
l`va9I smy jta& 0Ima 0Ima ferfaro 9ta rHya hta. te ferfaro
AhI& AapelI Aak<itma& btaVya 2e Ane tema&9I AavelI AomnI
jagtI jo0 s&}aa 2eLle btavvama& AavI 2e.
b0a smju ma8sone hve ¬ m&{anI s&}aa Aap8I snatn
s&Sk<itma& kevI rIte AavI htI teno purto ~yal AaVyo h=e. Aam
11
srSvtIisN0u s&Sk<itna pura8a Axro wpr9I AavelI b/a×I
ilipma&9I devnagrI ilipnu& 36tr 9yelu& jema&9I ATyarnI
Aap8I Ad\-Ut Aomkar m&{anI s&}aa W-I 9: htI. Aa @-ajo6
vgrnI sco4 hkIkt 2e.
Aap8ne ja8Ine Aan&d 9=e ke Aei=yama& b/a×I ilipma&9I AavelI
se&k6o ilipAo Aaje p8 vpray 2e. -artma& gujratI, b&gaXI,
ih&dI, mra5I, p&jabI Ane s&Sk<tnI ilipAo isvay dix8nI b0I
j ilipAo (kNn6, tamIl, telugu, mlaylm, vgere) p8 tema&9I j
AavI 2e. Aei=yana bIja de=onI (itbe4, [aIl&ka, 9ayleN6, java,
ifilpa:Ns, :N6oneisya, mleisya, kmboi6ya, vgere) ilipAo p8
Aap8I b/a×I ilipma&9I j AavI htI. Aa b0I ilipAoma&
Aomkar m&{a 9o6e38e A&=e Aap8e
là8ma& d=aRvIAe 2IAe temj d=aRvvama&
Aave 2e. AhI& itbe4ma& Aom kevI rIte lày
2e te AaPyu& 2e. tena inrIx89I Aap8ne
~yal Aav=e ke Aap8I Aom ¬ s&}aane là8ma& te Aekd\m
mXta Aakarno deày 2e. Aap8I snatn s&Sk<it Tyare kabUl9I
Kvala Lmpur Ane kEla=9I kol&bo su0I felayelI htI. p/k<itno
p/kop Ane 2eLlI Hjar vqRnI gulamIma& AavI ke4lIAe p/aiPtAo
Ane hkIkto Aap8e iblkul -UlI gya hta.
AhI& Aapela Aomm&{anI wTpi]ana :ithas9I te m&{anI AgTyta
Aap8I snatn s&Sk<itma& jraAe 34tI n9I. `re`r to Aa
s&}aanI vE}aaink rIt9I 9yela 36trnI ja89I Aap8I [a³a
tema& W7 9ay 2e. Aap8I pura8I s&}aaAo Ane Aak<itAonI pa2X
2upayela g&-Ir A9oRnI Aap8ne ja8 9va9I Aap8a 0mRnu&
Aacr8 sdacar9I krva ma4eno wTsah mX=e. bharnI
s&Sk<itAoAe 3atkI ATyacaro krIne Aap8I jUnI snatn
s&Sk<itno s&pU8R na= krva hjaro vqR9I p/yTno kyaR hta Ane kre
2e. 2ta&Ae te cmTkairk rIte hemèm scva: rhI 2e. Aa cmTkairk
12
rx8nu& Aek kar8 Aap8a ¢iqmuinAoAe 36elI s&}aaAo Ane
Aak<itAo wpr Aap8I purI [a³a hovanu& 2e. vXI snatn
s&Sk<itna payama& ¢iqmuinAoAe k&:k Aja8I smj8onI
go5v8o krI 2e te9I te sat hjar vqR9I manvtano s&de=o Aaà
jgtne AapI rhI 2e. AaÌ duinyanI bI@ b0I j pura8I
s&Sk<itAo (froink, mesopo4eimyn, prsIyn, g/Ik, romn, vgere)
payanI smj8 vgr na= 9: g: htI.
¬ k&: Aek =Bd n9I. te Aek m&{a 2e. s&gItnI mafk tene
natjat, maru&taru&, tv&gri-àrI, nanamo4a, -8elA-8,
kaXa0oXa, nrnarI, vgere manve wTpNn krela va6aAo n6ta n9I.
v`t psar 9va9I te jUno p8 9to n9I. tena sevn9I mnuQyne
AaTmanI W&6a: Ane jgtnI gh\ntano pUro ~yal Aave 2e.
¬
13
Ê SviStk Ane ca&Llo
SviStk
snatn s&Sk<itma& (ih&du, jEEn, =I` Ane bO³) 38I piv{a
Aak<itAo Ane s&}aaAo 2e tema&nI
Aek g8ay 2e. pr&tu
Aa0uink jmanama& jmRn de=na [aI ih4lrvaXa nazI (Nazi)
lokonI s&}aa trIke te pi¿cmna de=oma& v0u p/~yat 2e. te s&}aane
SviStk khevama& Aave 2e. SviStk =Bd w]am s&Sk<tma&9I AaVyo
2e. te su (lq¢) Ae4le saru Ane AiSt (vfLr) Ae4le 9vu& Aem be
=Bdoma&9I bnelo 2e. Aam te =Bdone smasnI rIt9I jo6va9I
SviStk (LofLrd) =Bd 9yo 2e. gujratIma& teno A9R su--9av
A9va su-krnar 9ay 2e Ane te s&}aane sai9yo khevay 2e.
sai9yo m&gX p/s&goma& k&ku A9va Anajna da8a9I dorvama&
Aave 2e. veparIAo temna cop6ana phela panama&, 3rna w&bra
wpr, drvajaAo wpr, m&idroma& b0e, lGnnI vedI wpr Ane 3r
vgerena paya =£ krta& sUyR devnI -Oitk hajrI j8avva Ane
teAo ivi0ma& saxI 2e te ma4e dorvama& Aave 2e.
srSvtIisN0u p/de=ma& snatn s&Sk<itnI =£Aat 9: htI te hve
nKkI 9yu& 2e. snatn s&Sk<itna phela tbKkane vEidk yug khevay
2e. te Aaj9I lg-g pa&c hjar vqR phela& 9yelo. te v`te sUyRne
vEEidk s&Sk<t Ane p/ak<t gujratIma& sivtr khevama& Aavto hto.
Aa hkIktno ~yal ¢gvedna piv{a gay{aI m&{a wpr9I Aav=e. te
m&{ana A9R 38a Stroma& 2e.
.
Aap8e payana Strno A9R jo:Ae. ù=-gvan 2e, -U:=pa8I,
-uv:=-Uim, Sv:=SvgRno, tt=tu&, sivtu=sivtr -sUyR, vre*ym
14
=v8Rn krI, -goR=-ju& 2u&, devSy=devne, 0Imih=te mha, i0y:=
tarI, yon:=yonIno-g-R--ed\, p/codyat=prco de-pircy deà6.
sivtr; tu& -U, -Uim Ane SvgRno -gvan 2e. te mha devne v8Rn
krI -ju& 2u&. tara -ed\no (yonIno) prco de.
snatn s&Sk<itna vEidk yug p2I srSvtIisN0u yug Aavelo.
jema&9I b/a×i8k yugnI Aaj9I lg-g {a8 hjar vqR phela&
=£Aat 9yelI. Tyar p2I devnagrI ilipna AxronI go5v8I
ivμanoAe ibharna pa4lIpu{a =herma& krI htI tem manvama& Aave
2e. Tyare mUX sivtr =Bd je sUyR ma4e vprato hto tene SviStk
nam tem8e AaPyu& htu&. te9I `re`r SviStk te sUyR d=aRvva ma4eno
j =Bd 2e. Aap8I snatn s&Sk<it wpr kudrte Ane bharnI
s&Sk<itAoAe pa6ela A0m jUlmo9I teno saco A9R hve -UlI gya
2IAe. tenI sa9e te s&}aanI wTpi]anI ik/ya p8 Aap8e -UlI gya
hta. tena juna A9RnI Ane wTpi]anI ik/yanI v0u 28av4 krIAe
te phela& ATyarnI p/cilt piriS9itnu& Aap8e inrIx8 krIAe.
ATyarnI piriS9it
sr ivilyMs joNs, je kolk4ama& cIf me@S4ê4 hta tem8e, bI@
feb/uAarI, :.s. ÉÏÐÎma& Aei=Aei4k sosay4Ima& jaherat krI htI
ke s&Sk<t, g/Ik Ane le4In -aqaAo AekbIjane Ùb j mXtI
AavtI -aqaAo 2e. Tyar p2I te -aqaAo ivqe 38I =o0o krI
htI Ane te b0I mXtI AavtI -aqaAona jU9ne :N6oyuroipyn
nam Aapvama& AaVyu& htu&. Aam te -aqajU9 saibt 9ya p2I te
-aqajU9 bolvavaXI mUX p/ja Ane temnI mat<-UimnI =o0 ma4e
mo4a p/yTno pi¿cmna purat]v ivμanoAe =£ kYaaR hta. tem8e te
-aqajU9 bolvavaXI p/jane AayR p/janu& nam AaPyu& htu&. pr&tu te
p/ja Kya& rhetI htI te jGya hju su0I pakI krI +Kya n9I. tenu&
mu~y kar8 yuroipyno potane wCc g8e 2e Ane te v<it9I bI@
ko: s&Sk<it temnI s&Sk<it9I AagX p6tI n deày te ja*ye
15
Aja*ye tem8e in8Ry kyoR 2e. te krela in8RynI A6c89I te
jGya =o0a8I n9I. ke4lak pi¿cmna ivμano te jait-edvaXI
maNytane sacI g8va9I sCca: jo: =kta n9I. te pi¿cmna
ivμan g8ata loko ivμta9I Aa babtma& 38a dUr 2e.
pi¿cmna purat]v ivμanone jYaare SviStknI s&}aavaXa Av=eqo
tkIR de=na pura8a `&i6yer =heroma&9I mâya (discovery of
Troy by Heinrich Schliemann in 1871-72) Tyare pelI
tkR krelI AayR p/ja Ane yuropnI p/ja Aek j 2e tem btavva
ma4ena sacaò4a p/yTnonI =£Aat 9: htI. te v`te pi¿cmna
s&Sk<tna par&gtoAe nKkI kyuR& htu& ke SviStk AayoRnI s&}aa 2e.
te9I yuropnI p/jaAe Tyare SviStk temnI potanI s&}aa 2e tem
ò4u& manIne tene mannI
njre jovanu& =£ kyuR& htu&.
:.s. nI Aog8I=mI sdI
Ane vI=mI sdInI
=£Aatma&
SviStk
sa9enI kXakar j8so
yurop Ane pi¿cmnI
s&Sk<itvaXa b0a de=oma&
bnavvama& AavtI htI
Ane gvR9I vaprvama&
AavtI htI. SviStknI
Aak<itvaXI sudr -at9I
bnavela p2e6a wpr TyarnI pi¿cmnI S{aIAo be5elI btavtu& Aek
ic{a AhI& AaPyu& 2e. te 2bI wprna k9nnI saibtI Aape 2e.
SviStknI s&}aane man9I potanI g*ya p2I yuropna lokoAe
teAo :¿vre 36elI sO9I W&cI p/ja 2e tevu& jaher krI te s&}aane
potanI wCc s&}aa trIke ApnavI htI. yuropma& tene juda& juda& nam
p8 Apa8a& hta&. 2ev4e jmRn de=na nazIAoAe (Nazi) :.s.
16
1920ma& temna rajkIy pxnI s&}aa (9o6I fervelI) trIke
ApnavI htI. jmRnI de=na [aI ih4lre (nazI lokoAe) nKkI kyuR
htu& ke -UrI Aa&òvaXa Ane sonerI vaXvaXa 0oXa ma8so j fKt
wCc AayoR 2e. te9I tem8e duinyana bIja b0a ma8sone hlka
jaher krI temno na= krvanu& =£ kyu& htu&. ke4lak mane 2e ke te ik/ya
bIja iv¿v yu³nI =£Aatnu& kar8 htu&. bIja iv¿v yu³ drimyan
laò yhudIAo Ane @PsIAonI 9yelI indRy kTleAam9I yuropna
smju ma8so te s&}aa trf 0<8anI njr9I hve juve 2e.
bIja iv¿v yu³ p2I yuropna 38a`ra loko SviStkne fKt nazI
lokonI s&}aa trIke j juAe 2e. te9I teAo tena mUX A9R ivqe Ane
tenI bI@ s&Sk<itAoma& AgTyta ivqe A}aanI bnI gya 2e.
jemne sacI hkIktnI `br 2e tem8e mOn ra`vanu& yoGy g*yu& 2e
te9I Aa&0Xe bheru& ku4a: rHyu& 2e. bIja iv¿v yu³ p2I pi¿cmnI
s&Sk<itma& teno wpyog Kyare p8 9to n9I Ane teno wpyog
Aja*ye p8 krvavaXaAo wpr ò4u& kyaRno Aarop mukI kcerIma&
0Kka àva mokle 2e. pi¿cmna loko je pura8I SviStk ma4enI
sacI hkIkt ja8e 2e temnama& bIjaAone smjavvanI manisk
ih&mt hve rhI n9I. pi¿cmnI s&Sk<itvaXaAone smjavva pUvRnI
s&Sk<itvaXa lokona p/yTno ATyar su0I inQfX gya 2e.
-art Ane pUvRna 38a de=oma& (China, Tibet, Japan,
Cambodia, Korea, Thailand) Aa pi¿cmnI m9am8nI
A}aanta 2e Ane te9I SviStkne 0aimRk in=anI trIke r&gec&ge
Aaje p8 te de=ona loko vapre 2e. pura8 kaXma& Aaà
Ameirkama& SviStkne 38a AslI loko (Tlingit, Navajo,
Hopi, Cuna, Inca, Aymara, etc,) man9I vaprta hta.
yuropma& p8 junI p/ja (Celtic, Goath, Basque, Greek,
etc.) SviStkne m&gX s&}aa trIke g8tI htI. Aaif/kama&
A=aNtI loko p8 tene m&gXnI in=anI g8ta hta. Aam Aaà
iv¿vma& pura8 kaXma& SviStknI s&}aa =u-nI in=anI trIke
17
vpratI htI. te Aaà jgtma& kevI rIte fela8I h=e? Aek vat
sacI 2e ke te pUvRma&9I pi¿cm trf g: htI. kdac
te :N6oyuroipyn -aqaAonI sa9e fela8I h=e?
nazI lokoAe SviStknI krelI `rabIma&9I tene kevI rIte Aap8e
às krIne pi¿cmnI s&Sk<itvaXa de=oma& wgarI=u&? inAonazI
(neo-Nazi) lokona ha9ma& tenI `rab 2apma&9I tene
bcavvano v`t hve AaVyo 2e.
Aaid :ithas
SviStk k&: shelI s&}aa n9I te9I tenI Svt&{a rIte wTpNn 9vanI
=KytaAo Ao2I g8ay. tene pura8 kaXma& ko: Aaid p/jaAe
Aaà jgtma& felavI h=e. d= hjar vqR phela&nI te s&}aa
pha6onI gufaAoma& jova mXI htI. purat]v `&i6yeroma& SviStk
sO9I phela& srSvtIisN0u p/de=na pura8a =heroma&9I mXI AaVyo
hto. te s&}aaAo pa&c9I 2 hjar vqR junI p(9rnI 5IkrIAo wpr
kotrelI mXI htI. AhI& te s&}aa btavtI 5IkrIAo AapI 2e.
:@Pt Ane sumerna `&i6yeroma&9I te s&}aa mXI n9I Ae4le
duinyana ke4lak ivμano mane 2e ke :N6oyuroipyn lokoAe j te
s&}aane Aaà jgtma& felavI h=e.
Aaid kaXma& tena& mUX
Aap8a puvRjone sUyRnI AgTytano ~yal Aaid kaX9I j AaVyo
hto. temne ~yal hto ke drek @vo sUyRnI =iKt9I j peda 9ay 2e
Ane @ve 2e. Aaid kaX9I Aap8I p/9a sUyRnu& pU&jn krvanI 2e.
18
AagX wpr Aap8e gay{aI m&{ama& te joyu& htu&. suyR wpr Ùb j
man hova9I tenI ratidvs hajrI sa9e ra`va -Oitk Aak<itnI
j£r p6I h=e. te9I phela& sUyR jem Aaka=ma& deày 2e te j p/ma8e
tenI -Oitk Aak<it
dorvanuu& =£ kyuR& htu&. v`t psar 9ta& te
Aak<itne jldI dorva9I tema& 0Ire 0Ire nana nana ferfaro 9ya
hta. te ferfaro AhI& AapelI Aak<itma& tbKkavar btaVya 2e.
p/9m sUyRna& 38a& ikr8o btavvane bdle fKt car ikr8o 2e6e
Aa&k6avaXa& btavvama& Aavta& hta&. Tyar p2I te ikr8one sUyRna
vtuRXma&9I psar krva9I fKt be lI4IAo dorvanI j j£r p6tI
htI. 2ev4e su&drta ma4e sUyRna car -agone bdle car nana vtuRXo
krvanu& =£ kyu&R htu&. Aam Aap8a sai9yanI Aak<itnI wTpi]a
9: htI teno Aa saco :ithas 2e. Aap8e ma&gilk p/s&go v`te
SviStk dorva 0anno (coà, jv, juvar, 3w&, vgere) A9va k&kuno
wpyog krIAe 2IAe. tene jldI9I Ane shelay9I dorvanI ik/ya te
£pa&tr 9vanu& Aek mu~y kar8 htu&. sai9yo ma&gilk p/s&goAe je
ivi0 krIAe 2IAe te ivi0ma& sUyRdevne -Oitk duinyama& saxI trIke
hajr ra`va Ane sfXtanI ba&he0rI ma4e dorvama& Aave 2e.
wpr sUyRna deàvvaXa mUX ic{a
wpr9I SviStknI s&}aa kevI
rIte AavI htI te btaVyu& 2e. pr&tu te j suyRnI Asl Aak<itnu&
bI@ rIte p8 Aaid kaXma& £pa&tr 9yu& htu&. Aa bI@ id=ama&
9yela £pa&trnI v`t psar 9ta& 9yelI jUdI jUdI kxaAo AhI&
btavvama& AavI 2e. Aa £pa&tr 9vanu& kar8 Jya& te Aak<it
dorvama& Aave 2e te mnuQynu& kpaX l&bcors hoy 2e te htu&. sUyRnI
19
Asl goX Aak<itne l&bcors kpaX wpr dorva9I te Aak<it
2ev4e l&bcors AakarvaXI bnI htI.
2eLlI btavelI Aak<itno snatn s&Sk<itma& sa0us&to pote
suyRpU&jk 2e tem d=aRvva lla4 A9va bahu wpr te s&}aano
ja*ye Aja*ye wpyog kre 2e. te m&gX s&}aa tmne 3rna bar8a
wpr, idvalo wpr, m&idroma& Ane drek 0aimRk jGyaAoAe jova
mX=e. Aap8ama&na 38a`ra tenI sacI AoXà8 -UlI gya
hta. Aap8I s&Sk<it srSvtI ndIna ka&5a wpr fUlIfalI htI.
kudrtI (0rtIk&p Ane vatavr8na ferfaro9I) kar8o9I srSvtI
ndI Aaj9I car hjar9I v0are vqR phela& suka:ne -a5o 9: g:
htI. te9I snatn s&Sk<itne jBbr jSt Aa&cko laGyo hto.
@vn invaRh ma4e vStIvera8 Aajubajuna p/de=oma& Ane prde=oma&
9va9I Aap8e pura8I s&}aaAono saco A9R -UlI gya hta.
wprnI 28av49I hve Aap8ne ~yal AaVyo h=e ke i=vil&g wpr
btavvama& AavtI s&}aa sUyRnI in=anI
2e. Aa AoXà89I i=vil&g sa9e
s&kXayelI 38I s&}aaAo Ane
Aak<itAono saco A9R ja8va9I
i=vil&g =u& btave 2e teno A80arelI
id=ama& p8 sco4 ~yal Aav=e. AHI&
ta&bana cok5ama& Aapela i=vil&g wpr
sUyRnI s&}aa co~Ì deày 2e. tenI sa9e
pa8IvaXo kX= Ane nag devtaAo p8 btaVya 2e. Aa ivqy
wpr Aap8e Aa p2Ina p/kr8ma& ivgtvar 28av4 krI=u&.
20
ca&Llo
sUyRnI s&}aa kevI rIte 9: teno -ed\ Aap8e AagX joyo p8 te
vataR Tya& A4ktI n9I. te sUyR s&}aama&9I Aap8e kpaX wpr k&ku,
c&dn, vgere9I ca&Llo (itlk, ib&dI) krIAe 2IAe te kevI rIte
snatn s&Sk<itma& AaVyo te hve Aap8e jo:Ae. ca&LlanI
wTpi]ano :ithas smjvo shelo 2e kar8 ke tenI wTpi]a ma4e
9yelI b0I j kxaAo hju p8 snatn s&Sk<itma& vpray 2e. te
b0a tbKkaAo Aak<it-Êma& btavvama& AaVya 2e.
te Aak<itna phela ic{ama& Aapela sa0u mharajnI 2bIma& lla4
wpr i=vil&goma& btavvama& AavtI sUyRnI s&}aa krelI 2e. vCcenI
lI4I wpr lal r&gno goXo (je sUyR btave 2e) Ane 0oXa r&gnI
{a8 lI4IAo9I (je ikr8o btave 2e) te krvama& AavI 2e. AavI
kpaX A9va bav6a wpr krelI s&}aavaXa sa0us&to tmne 5er 5er
Aaà -artnI -Uim wpr jova mX=e.
te s&}aama& sUyRnu& lal ib&du vCcenI lI4Ima& btavvama& Aavtu& htu&
tene bdle ke4lak sa0uAoAe nIcenI lI4Ima& tene btavvanu& =£
kyuR& htu&. te p/ma8e ib&du krela Aek sa0u mharajnI 2bI te
Aak<itna bIja ic{ama& btavvama& AavI 2e.
Tyar p2I ke4lak sa0uAo ikr8 btavtI {a8e lI4IAonI nIce
sUyRnu& Alg lal ib&du krva laGya hta. te p/ma8e sUyRdevnI s&}aa
Aek sa0u mharaje temna kpaXma& krelI 2e tenI 2bI Aak<it-2na
{aIja ic{ama& AapI 2e. Aa p/9a p8 hju p/cilt 2e.
co9a ic{ama& btaVya p/ma8e ke4lak sa0uAoAe sUyRna& ikr8o
btavtI {a8e lI4IAo krvanu& b&0 kyuR& htu&. te9I fKt sUyRnu& 4pku& j
tenI junI jGyaAe krvanI =£Aat 9: htI. Hju p8 sUyRdevno
ca&Llo às krIne dix8 -artnI S{aIAo kpaXnI vCce nih p8
be -Mmr vCce co9a ic{ama& btaVya p/ma8e j kre 2e.
21
22
Aa b0I s&}aaAo `re`r to sUyRdevnI -Oitk hajrI btavva ma4e
j krvama& Aave 2e. sUyR te drek @vono SvamI 2e Ane te9I tenI
drek @v wprnu& Ai0pTy btavva ma4e te s&}aa krvama& Aave 2e.
wpr v8RvelI b0I kxaAo AhI& Aek Aak<itma& sa9e AapI 2e.
sUyR jem jgtno SvamI 2e Ane tenI hajrI kaym 2e tem btavva
sa0uloko k&ku A9va c&dn9I kpaXma& ca&Llo kre 2e. tevI j rIte
tevo ca&Llo krelI yuvtIne SvamI 2e Ane tena SvamInI st\t
hajrI te8I sa9e 2e tem g8vama& Aavtu& htu&. te9I hm8a& su0I
pri8t yuvtIAo j ca&Llano wpyog krtI htI. AhI& tem ca&Llo
krelI su&dr yuvtInI 2bI Aak<it-Êna pa&cma ic{ama& AapI 2e.
Aaje ko:p8 r&g Ane Aakarno ca&Llo kpaX vCce krvo te
snatn s&Sk<itnI S{aIAo ma4e W&co irvaj bNyo 2e Ane te9I te
ko:p8 S{aI ma4e fKt =8gar ma4enI Aek Aak<it bnI 2e. hve
pi¿cmnI S{aIAo p8 =8gar ma4e ca&Llano wpyog kre 2e.
snatn s&iSk<itma& sara p/s&goAe sUyRdevne ivi0ma& saxI trIke
hajr ra`va Ane p/s&gnI skXta ma4e drek ma8sna kpaX wpr
sUyRdev d=aRvto ca&Llo k&ku9I krvama& Aave 2e.
Aap8e b0ane hve ~yal AaVyo h=e ke Aaid snatn s&Sk<itma&
SviStk Ane ca&LlanI s&}aaAo p<(vIna SvamI sUyRdevnI -Oitk
hajrI d=aRvva ma4e krvama& Aave 2e. te s&}aaAo pa2X 2Upayelu&
sTy ke4lu& moiht 2e.
23
Ë i=vil&g
snatn s&Sk<itma& i=vil&gnI rcna Ane tenI pa2X 2Upayelo
`ro A9R vqoR9I Aaà jgtma& Ane às krIne -artna lokoma&
A8smj9I gU&cvayelo temj An9RvaXo bNyo 2e. gujratna
gam6aAoma& i=vil&gne 38Ivar i=vnI A9va i=v@nI pe&6I
khevama& Aave 2e. pe&6I Ae4le il&g AhI& khevama& Aave 2e. cIn de=na
pi¿cm Ù8ama& Jya& hal -Ula: gyelI 4okairyn (IndoEuropean Languages) -aqaAo bolatI htI Tya& trIm pe&6I
(Tarim Pendi) Ane ju&Ggar pe&6I (Junggar Pendi) jeva&
pha6ona& nam 2e. -art Ane nepaXma& ihmalyne sma&tr i=vailk
(i=va-il&g) pvRtmaXa AavelI 2e te p8 btave 2e ke il&gno A9R
pvRt 9ay 2e. te9I coKks 9ay 2e ke i=v sa9e vprata b&ne (pe&6I
Ane il&g) =Bdono A9R pha6 9ay 2e.
hve i=v =Bdna saca A9Rno ivcar krIAe. gujratI -aqama&
i=la, i=su&, i=smnu& lak6u&, vgere =Bdo p(9r A9va p(9r jevo
s`t pda9R btave 2e. te9I Aap8e shelay9I nKkI krI =kIAe
2IAe ke i=vno jUno A9R p(9r h=e. i=v Ane il&g =Bdo -ega
krva9I i=vil&g =Bd wTpNn 9yo hto te9I te =Bdno `ro A9R
p(9rno pha6 9ay 2e. srSvtI ndInI Ì8ma& snatn s&Sk<itnI
=£Aat 9: htI. te ndI sUka: jva9I Ane {a8so9I v0are vqR
la&bo (Aaj9I car hjar9I v0are vqR phela&) dukaX p6va9I
snatn s&Sk<it wpr -y&kr kudrtI Aapi]a p6I htI. tena9I
Asl vStI Aajubajuna p/a&toma& Ane prde=oma& fela8I htI.
Aap8I s&Sk<itnI s&}aaAo Ane Aak<itAona saca A9oR v`t
jta& za&à bNya hta. Tyar p2I vXI -artma& hjaro vqoR9I
bharnI s&Sk<itAona 3atkI humla Ane rajiky =oq89I Aap8e
te s&}aaAo Ane Aak<itAo pa2X rhela& vE}aaink rhSyone td\n
ivsrI gya 2IAe. te4lu& j nih p8 `rI smj8 n hova9I
24
prde=IAoAe temnI s&Sk<itne W&cI btavva ma4e Ajugta A9oR te
s&}aaAone AaPya hta. vXI Aap8a de=I A8smju lo-IAa
ma8soAe te sacu& manI 38a nva gU&cva6a W-a kyaR 2e.
Aap8e te Ait pura8I gU&cvayelI hkIktona saca A9Rne AagX
v0arIAe te phela& ATyarnI i=vil&g ivqenI la&ba v`t9I
pk6avelI m6aga&5o Ane gersmjvaXI maNytaAonu& srvEyu&
ka7IAe. i=vil&g pa2X iv=aX saihTy Ane lokvaykaAo W-I
9: 2e. ko:p8 ivqy ivqe sacI hkIkt -Ula: jvay Tyare tenI
pa2X 7glab&0 vataRAo Ane vadivvado W-a 9ta hoy 2e. te9I
AhI& fKt AgTynI vataRAo wpr Aap8e ivcar krI=u&.
hyat piriS9it
Aap8ne jNm9I 5okI 5okIne -&-ervama& Aave 2e ke i=vil&g S{aI
Ane pu£qnI jneiNd/yonu& Aak<itkr8 2e. te9I te -gvannI jgtnu&
sjRn, s&-aX Ane ivsjRn var&var krvanI ik/ya sa9e s&kXayelI
Aak<it 2e. i=v -gvanne snatn s&Sk<itnI i{apu4Ima&na Aek
g8vama& Aave 2e. b/×a Ane ivQ8u te i{apu4Ima&na bIja be 2e.
snatn s&Sk<itnI i{apu4Ima&na
i=v@nI -oitk Aak<it Ane
temnama&
smayela
gu8o
d=aRvva =ivil&g bnavvama&
Aave 2e. sa0ar8 Aak<itma&
payana be j Aakar AgTyna
2e Ane temne coksa:9I b0a
j i=v@na m&idroma& btavvama&
Aave 2e. AhI& teva i=vil&gnu&
reàic{a AaPyu& 2e. yonI (jene
S{aInI jneiN±y g8e 2e) Ane il&g (jene pu£qnI jneiN±y g8e 2e)
b0a j m&idroma& S9apvama& Aave 2e. AagX wpr ivgtvar9I
25
joy=u& ke te maNyta t(y vgrnI 2e. p/cilt maNytaAo td\n jU5I
vataRAo 2e. te sacu& manvavaXaAonI AKkl bher marI g: 2e.
i=v@na m&idroma& btavvama& AavtI te s&}aaAo Ane bI@
s&}aaAona saca A9oR srSvtI sukava9I Aap8e -UlI gya hta
-gvan i=vnu& Agi8t v`t9I -artma& pUjn krvama& Aave 2e.
tmne Aaà -artma& -aGye j ko: gam6u& mX=e ke Jya& i=v@nu&
nanu&mo4u& m&idr n hoy. -artma& 38I jGyaAoAe bIja& mo4a& Ane
Ùb j mihmavaXa& m&idro 2e. tema&na& bar JyoitRil&gono mihma
mo4o 2e. te il&go Jyoitma&9I (JvaXa-Aag) Svy&-U& 9ya& hta& tem
g8ay 2e. te bar m&idro w]aracXma& kedarna9, ka=Ima&
ka=Iiv¿vna9, wJjnma& mhakale¿vr, nai=k n@k {y&bke¿vr,
[aIsElmma& milkajuRn, nmRda ndIne ka&5e Aomkare¿vr, mharaQ4ma&
darukvnma& nage¿vr, pUna n@k -Ime¿vr, gujratma& somna9,
tamIlna6uma& setub&0 jGyaAe rame¿vr, :loranI gufaAonI
bajuma& ig/8e¿vr Ane ibharma& devg7 n@k vEjna9 2e. te b0a j
m&idroma& i=vil&g JvaXama&9I AapoAap wTpNn 9ya hta tem
manvama& Aave 2e. vE}aaink mans9I shj ivcar krIAe to co~ù&
deà=e ke Aa bIna te jGyaAoAe JvaXamuÌma&9I fKt p(9rna
pha6o wTpNn 9ya hta tenI vat 2e.
i=v@ne -oXa -gvan g8vama& Aave 2e kar8 ke temne je ko:
papI ke 0imRk ma8s -je tene coKks fX mXe 2e. mnuQy isvay
devo Ane dETyo p8 temne -je 2e. ramay8ma& j8aVyu& 2e ke
[aIl&kano dETy raja rav8 i=v@no mo4o -Kt hto. [aI
ramc&±@Ae teno v0 krta& phela& te i=v@nI pUja kre tevo Aag/h
ra~yo hto. Aa b0u& pha6onI AgTyta btave 2e. ètInI =o0
9ya p2I pha6oma&9I wTpNn 9yelI ndIAonI Ì8oma& duinyanI
b0I j s&Sk<itAonI =£Aat 9: htI. te phela& p8 Aaid
manvne pha6onI @vn invaRh Ane rx8 ma4e j£rI htI. Ae4le
p(9rma&9I bnavel i=vil&g fKt pha6devnu& Aak<itkr8 2e.
26
srSvtIisN0u s&Sk<itna `&i6yer jGyaAoAe9I (kalIb&gnma&9I)
pa&c hjar vqR jUnu& pakI
ma4Inu& sadu& i=vil&g mXI
AaVyu& 2e. AhI& tenI 2bI
AapI 2e. te phela& p8
i=v@nI pUja p(9ronI
7glI bnavI krvama&
AavtI htI. Aam krva9I
pvRtdevne gme Tya& wpjavI
tenu& pUjn 9: =ktu& htu&. te
j p/ma8e p(9rnI 7glI krI dix8 Ameirkana AslI loko
pha6nI pUja krta hta. te hkIkt kacI ma4Ina ipramI6onI
bajuma&9I p(9ronI 7glI mXI AavI htI te wpr9I duinyana
purat]v =aS{aIAoAe nKkI kyuR& 2e. te sa0ar8 =£Aatma&9I hve
Aaà -artma& i=vil&gne bI@ 38I Aak<itAo Ane -Vy
=8garo sa9e mo4a& m&idroma& S9apvama& Aave 2e. AhI& Aek {aa&banu&
sudr i=vil&g tena reàic{a sa9e AaPyu& 2e.
27
sa0ar8 rIte i=v@na m&idrma& il&g Ane yonI sa9e kX=, nag
Ane sUyRnI rjUAat krelI hoy 2e. sUyRnI rjUAat AagXna
p/kr8ma& 28av4 krelI sUyRnI in=anI il&g wpr btavva9I
krvama& Aave 2e. vXI i=v@nI pUja v`te ibLlIp{a Ane fUlo9I
tene =8garvama& Aave 2e. kX=ma& pa8I (g&gajX?) Ane dU0
hoy 2e. tenI nIce nana ka8ama&9I st\t pa8InI 0ar il&g wpr
p6tI hoy 2e. nagnI p/itma h&me=a& tenI fe8 il&g wpr deày te
rIte go5vvama& Aave 2e. Aa p/ma8enI go5v8nI =£Aat
srSvtI sUkavanI =£Aat 9ya p2I 9: h=e tem manvama& Aave
2e. Aa go5v8na saca ~yalnI 28av4 krIAe te phela& p/cilt
lokvaykaAo Ane saihTyma& d=aRvelI ivgtono ivcar krIAe.
É. pura8o, ramay8 Ane mha-artma& i=v@nI wTpi]a ivqe 38I
rmu@ vataRAo AapelI 2e. Aek vataRma& Aevu& khevama& AaVyu& 2e ke
0rtInI -Itrma&9I wTpNn
9yelI jbrjSt Jyoit smud/nI
spa4I wpr --UkI W5I htI. te
JyotIma&9I -Vy i=vil&g peda
9yu& htu&. Aa hkIkt btavtI
Aek 2bI AhI& AapI 2e. te
JvaXama&9I mhan =iKt wTpNn
9yelI Ane tene ko:9I na9I
=ka8I n htI. te9I -gvan
i=ve jate j te -Vy Jyoit jene temnI jneiN±y g8atI htI teno
nSt kyoR hto. te nSt 9yelI jneiN±y p<(vI wpr p6va9I
svRna= 9yo hto. 2ev4e te p6elI jneiN±y pa8Ine (wma-pavRtInI
yonIne) mXva9I 5&6I p6I htI. Tyar p2I manv, dev Ane dETyo
i=vil&g Ae4le i=v -gvanne svoRCc dev trIke pUjn krva laGya
hta. te9I svRna=ma&9I pun:S9apn 9yu& htu&. samaNy vEe}aaink
smj8vaXI VyiKtne Aa la&bI vataR fKt JvaXamuÌma&9I
28
pha6nI wTpi]a Ane nvsjRnnu& AabehUb v8Rn 2e te co~ù&
smja=e. Aa ivqe v0u khevanI j£r 2e?
Ê. 38I vataRAoma& -gvan i=vnu& bIju Sv£p A0RnarI¿vrnu& 2e
tem khevama& Aave 2e. te Sv£p AhI& Aek 2bIma& AaPyu& 2e. Aa
lokvayka p/ma8e i=v@ kaym ma4e
pavRtI sa9e mE9unma& jo6ayela rhe
2e. temne te9I kamdevna Avtar
trIke p8 g8vama& Aave 2e. Ae4le
ke te kaym ma4e p<(vIna juda juda
@vonu& sjRn kamnI ik/6a9I (the
sexual lust, desire or
pleasure, the force that is
the basis for the evolution
of diverse life forms
including humans on earth)
kaym ma4e krta hoy 2e. Aa
vataRma& Aem khevay 2e ke i=v@Ae
kamdevne marI na~yo hto pr&tu
tenI pTnI rtInI ivn&tI9I tene
@v&t krvama& AaVyo hto. te k9a
fKt 0rtIna pe4aXma& 9ta ferfaro9I 9ta 0rtIk&p Ane
JvaXamuÌ (Plate Tectonics) 9va9I p<(vIna p4 wpr @vonu&
sjRn Ane ivsRjn 9vanI ik/yanu& co~ù v8Rn deày 2e.
samaNy ma8s p8 Aa rhSynI pa2X 2Upayelu& sTy jo: =ke
tem shelu& 2e. hve Aap8ne saco ~yal AaVyo h=e ke i=v@nu&
A0RnarI¿vr Sv£p te sjRn-ivsRjn, pha6-ndI, smu±-jmIn,
vgere μEtvadonI Aekta -Oitk rIte btavtI Aak<it 2e. temj te
nrnarInu& Sv£p st\t p<(vI wpr 9tI @vonI kudrtI inymo
Anusar wTpi]a Ane p/lynI ik/yaAonI -Oitkta btave 2e.
29
Ë. bI@ Aek k9a pard (parana) i=vil&gnI 2e. dETy lokonI Ùb
j herangtIma&9I bcva ma4e dev lokoAe i=v -gvanne ko: vIr
peda krva Stuit krI htI. i=v@ Ane pavRtInI te ma4enI ik/ya
krvanu& inrx8 krva ma4e dev lokoAe AiGn devne kbUtrna £pma&
mokLya hta. -gvan i=v@ te ja8Ine kopayman 9ya te9I
temnu& vIyR pDy&u htu&. tene g&ga ndI p8 shn n krI =kva9I p<(vI
wpr p6yu& htu&. te vIyRma&9I p/vahI paro bNyo hto. te p/vahI
parama&9I 0r8I0r s&ihtama& j8aVya p/ma8e 3n paro bnaVyo
hto. te 3n parama&9I pard i=vil&g
bnavvama& AaVyu& htu&. Ñ±s&ihtama&
vXI j8avvama& AaVyu& 2e ke Aam
3n parama&9I bnavela i=vil&gna
pUjn9I ma8sne la&bI ij&dgI mXe
2e. drdo Ane grIbI9I tena pUjkne
muiKt p8 mXe 2e.
Aa k9nma& p8 co~ù& deày 2e ke
je paranI Ane vIyRnI vat krI 2e te
`re`r to JvaXamuÌma&9I vheta
p/vahI lavarsnI vat 2e. je 5&6o p6ta& p(9r 9ay 2e Ane tema&9I
i=vil&g (pha6) bne 2e. te lavarsma&9I 38a W&ca pha6o p8
9ay 2e je i=vil&g jeva j hoy 2e. AhI& Aek lavarsma&9I bnela
i=v@ jeva pha6nu& ic{a AaPyu& 2e. i=v@ pataXma&9I 0rtI wpr
Aave 2e Tyaree Aap8e i=vrai{a wjvIAe 2IAe. te pataXma&9I
grmIvaXo pha6 bhar AavvanI hkIktnI wjv8I 2e.
Ì. Sk&d pura8ma& ivgtvar9I j8avvama& AaVyu& 2e ke -gvan
i=vno ¿le=mNtk vnma& vas hto. Aa vas drimyan teAo te
vnma& hr8na Sv£pma& ik/6a krta hta. Tyar9I i=v@ p=upitna
nam9I AoXày 2e. vXI te v`t9I ¿le=mNtk vnne
m<gaS9XI khevay 2e. Aa d&tk9a srSvtIisN0u p/de=na& `&i6yer
30
=heroma&9I (raÌg/hI, banavlI, vgere) ÌÎÈÈ vqR jUnI mXI
AavelI 38I 5IkrIAo wpr 4a&kelI
2e. tevI Aek p=upitna9na
(Pasupati Tablet) nam9I
AoXàtI p(9rnI 5IkrInI 2bI
AhI& AapI 2e. tema& p=upitna9
b0a p/a8IAonI vCce )yanma& besI
temnI manisk rIte wTpi]a krta hoy
tem deày 2e. Aa vataRma& p8
0rtIk&p Ane JvaXamuÌ p2I 9ta
pun:sjRnnI vat co~Ì deày 2e.
wprnI care vataRAoma& Aek j ivqy v8Rvama& AaVyo 2e je
sa0ar8 ma8s sm@ =ke tevo W3a6o 2e. te vataRAono mu~y
ivqy 0rtIk&p Ane JvaXamuÌ9I ivna= Ane pha6onI wTpi]a
p2I @vonu& pun:sjRn 9vano 2e. AavI vataRAo pura8oma&,
mhakaVyoma&, ta&i{ak Ane bIja& b/a×i8k yugna& puStkoma& jova
mXe 2e. vedoma& AavI vataRAo j8avelI n9I Ae4le srSvtI ndI
sukaya p2I Aa k9aAonI wTpi]a 9: htI tem purvar 9ay 2e. te
b0I vataRAo p/k<it9I 9to na= Ane pun:sjRn btave 2e.
sacI smj
vedoma& fKt i=v@na 9o6ak gu8o btavta Ñ± devno wLle` krelo
2e. te puStkoma& ATyare i=vil&gnI je yonI Ane il&gnI Vya~ya
Aapvama& Aave 2e teno wLle` Kya&y krvama& AaVyo n9I.
srSvtI ndI suka: gya p2I Ane la&ba v`t su0Ina dukaX9I
Aap8I s&Sk<itne s`t Aa3at laGyo hto. te9I sacI hkIkto
-Ula: jva9I b/a×i8k yugna le`koAe krela tkoR ATyare
puStkoma& jova mXe 2e. wpr AapelI vataRAonI smj8 p6ya
p2I hve Aap8e sacI hkIkto shela:9I =o0I =kI=u&.
31
srSvtIisN0u p/de=nI vEidk s&Sk<it v`te Aap8a pUvRjone
ndIAonI AgTytano purto ~yal AaVyo hto. temne Ae vatno
~yal p8 hto ke je ndIAona ka&5a wpr Ane Ì8oma& Aap8I
s&Sk<it ÌlI 2e te ndIAona& barmasI pa8I pha6oma&9I Aave 2e.
às krIne kaymI pa8IvaXI srSvtI ndInu& mUX 5e5 brf9I
2vayela kEla= pvRtma& htu& teno temne pako ~yal hto. sUyRnI
AgTytano p8 temne s&pU8R
}aan htu&. sUyRnI grmI9I W&ca
pha6o wprno hIm pI&gXto
hto te9I baremas ndIAoma&
pa8I rhetu& htu&. Aa hkIkt9I
tem8e sUyR Ane pha6one man9I
jovanu& =£ kyuR& htu&. gujrat
Ane is&09I te pha6o jo:
=kata n9I te9I temne nana
p(9ronI 7glI krI pha6nI
p/itma trIke pUjn =£ kyuR& h=e. Tyar p2I pha6nI Aak<it jevu&
i=vil&g bnavvama& AaVyu& htu&. 2ev4e te i=vil&g wpr sUyRnI s&}aa
btavI sUyR Ane ihmalynu& (kEla=nu&) pUjn sa9e 9tu& htu&. te
sUyR s&}aa ivqeno :ithas Aap8e bIja p/kr8ma& joyo 2e. tevI
s&}aavaXa Aek i=vil&gnu& ic{a AhI& btaVyu& 2e. i=vna {aIja ne{anI
d&tk9a te sUyRs&}aa wpr9I AavI htI. i=vil&g sa9enI bI@
s&}aaAo ivqe AagX wpr 28av4 krI=u&.
snatn s&Sk<itma& Snan Ane co~à:nI Ùb j AgTyta 2e te
ivqe Aap8ne v0u& khevanI j£r n9I. te9I i=vil&gne svare Snan
kravvama& Aavtu& htu&. Aaje p8 ka=Iiv¿vna9na i=vil&gne
dU0Iya pa8I9I idvsma& 38I var Snan kravvama& Aave 2e. tem
krvanI ik/ya me& jate jo: 2e. dU0Iyu& pa8I vaprvanu& kar8 brfno
Aa-aq W-o krva ma4e h=e. i=v@ne Snan kravvanI ik/ya9I
32
pa8I Aa6uAvXu felay nih te ma4e tenI Aajubaju paXI krvanu&
=£ kyuR& htu&. AhI& tem paXI krela i=vil&gona& ic{ao AaPya& 2e.
=£Aatma& paXI vgrna& i=vil&gonI pUja 9tI htI. AhI& tevu&
Aek il&g btaVyu& 2e, Tyar p2I il&gnI kormor b&0 bnavvama&
Aavto hto. te b&0 krvanI p/9a i=vil&gne Snan kravvanI sa9e
A9va
i=vil&g
wpr pa8I -relo
kX= ba&0I tema&9I
st\t
4pkta
pa8I9I srSvtI
ndIne
m&idrma&
wTpNn krvanu& =£
kyuR& Tyare =£Aat
9: h=e. te b&0 ko:
às
Aak<itma&
bnavvanI p/9a n
htI. gme te Aak<itvaXI paXI krva9I felata pa8Ine ndIna
Aakarma& m&idrnI bhar srSvtI ndIna vhe8 trIke
tulsIKyarama& vaXvama& Aavtu& htu&. te paXI Ao2o p(9r vpray
te9I 2ev4e il&gnI mafk goX krvama& AavtI htI. AhI& teva goX
AakarvaXa b&0 sa9ena i=vil&gnI Aak<it AapI 2e.
33
hve drek Nyay Ane vE}aaink ±iQ4Ae jovavaXa ma8sne co~ù&
deàtu& h=e ke i=v@na m&idrma& btavelI mu~y Aak<itAono saco
A9R =u& 9ay 2e Ane te kem wTpNn krvama& AavI htI.
Aap8I s&Sk<itna b/a×i8k yugma& i=v@ne bI@ 38I
Aak<itAo9I =8garvama& Aave 2e. hve te b0I Aak<itAone
vE}aaink rIte smjvano Aap8e p/yTn krIAe. AhI& ma8sna
Sv£pma& btavela i=v@nI 2bI AapI 2e.
É. ma8sna Sv£p sa9e i=vil&g p8 btavvama& AaVyu& 2e. te
i=vil&g `re`r to ihmalyma& Aavela brf9I 2vayela kEla=
pvRtnu& Aak<itkr8 2e. te pvRtma& pura8I srSvtI ndInu& mUX htu&.
Aap8I snatn s&Sk<itma& kElas pvRtne i=v@nu& 0am (S9an)
Ae4la ma4e j khevay 2e. Aak<it-3ma& kEla= pvRtnu& ic{a AaPyu& 2e.
te Aak<itma& Aapela nana ic{ane )yan9I jova9I tmne ~yal
Aav=e ke kEla= pvRt i=vil&gna £pno j deày 2e. A8smju
34
loko tene pu£qnI jneiN±y khe 2e. ma8sna Sv£pvaXa i=v@nI
j4a p8 kEla= pvRtnu& Aak<itkr8 2e.
Ê. i=vil&g wpr Aek
s&}aa krelI 2e te sUyRnI s&}aa 2e te
Aap8e AagX paku& smJya 2IAe. AhI& te s&}aa krva9I
btavvama& Aave 2e ke sUyRna p/ka=nI grmI9I ihmalyna i=`ro
wprno brf AogXIne 9ta pa8Ima&9I srSvtI jevI Anek
barmasI pa8IvaXI ndIAo wTpNn 9ay 2e. 4U&kma& i=vil&g wpr
btavvama& AavtI te s&}aa sUyRnI s&}aa 2e. tenI grmIne lI0e
ihmalyna i=`ro wpr 2vayela brfma&9I ndIAoma& vhtu& pa8I
bne 2e. te s&}aane ke4lak loko i=v@nu& {aIju& ne{a p8 g8e 2e.
35
Ë. ihmalyma& kudrt9I 9tI ndIne (às krIne srSvtI ndIne)
m&idrma& vhev6avva dU0Iya pa8I9I (g&gajX9I?) -relo kX=
i=vil&g wpr ba&0vama& Aave 2e. te kX=nI nIce nana ka8ama&9I
pa8I st\t trptu& hoy 2e. Aam kEla=ma&9I wTpNn 9tI
srSvtIna pa8InI -Oitk wTpi]a m&idroma& krvama& Aave 2e.
Ì. kX=ma&9I i=vil&g wpr (kEla=ma&9I) trpta pa8Ine ndInI
mafk Aek nI&kma& vaXva ma4e i=vil&gnI Aajubaju paX krvama&
Aave 2e. A8smju loko te paXne yonI khe 2e. te paX srSvtIne
m&idrnI bhar tulsIKyarama& vaXva ma4e krvama& Aave 2e. te
tulsIKyaro srSvtIna pa8I9I 9ta pakonu& Aak<itkr8 2e.
Í. 38Ivar mnuQy AakarvaXa i=v@ sa9e A0Rc&± j4ama&
btavvama& Aave 2e. te A0Rc&± kEla= wprna brf Ane tenI sa9e
s&kXaAelI i=tXtanu& Aak<itkr8 2e.
Î. i=v@na b0a j m&idroma& p/ve=ta& phela& tmne n&idnI p/itma
coKks9I jova mX=e. tene i=v@no μarpal khevay 2e. AhI& teva
n&idnI p(9rnI p/itma AapI 2e. kEla= pho&cta& phela& ke4lak
pvRto Aave 2e je
n&idna Aakarna
2e. AhI& teva Aek
n&idna Aakarna
pvRtnI
2bI
AapI 2e. te
kEla= pvRtnI
dix8ma& Aavelo 2e. Aa i=`r kEla= pho&cvanu& mu+kel kre 2e te9I
te n&id Aakarna pvRtne i=v@no μarpal khevay 2e. i=v@na
m&idroma& btavato n&id te pvRtnu& Aak<itkr8 2e. kEla= pvRtnI
tXe4Ima& p8 Aek be5ela n&id jevI j 4ekrI 2e. tenI 2bI AhI& nIce
AapI 2e. Aa 4ekrI j kdac n&idnI kLpnanu& mUX h=e. kEla= sa9e te
36
4ekrI i=v@na m&idroma& btavata n&id jvI j Aabehub lage 2e.
ihmalynI pvRtmaXama& n&dadevInu&
m&idr Ane n&gapvRt namvaXo
pvRt p8 2e. te9I i=v@na
m&idroma& μarpal trIke btavvama&
Aavta n&idAo kEla= pho&cvanu&
mu+kel krta n&idna AakarvaXa
pvRtonu& Aak<itkr8 2e. tme ivcar
kro ke n&id be5elo j h&me=a& kem m&idroma& btavvama& Aave 2e?
Ï. nag p8 i=vil&g sa9e jo6ayelo 2e. te ivcar p8 kEla=
pvRtma& deày 2e. Aak<it-3ma& (panu& 35) kEla= i=`rnI 4ocnu&
mo4u krelu& ic{a jova9I teno ~yal Aav=e. kEla=nI 4oc wprno
p(9r nagnI fe8nu& sacu& p/itib&b lage 2e. te p(9r wpr9I nagnu&
jo6a8 i=v@ (kEla=) sa9e AaVyu& 2e. Aaid kaXma& nagnI f8a
jem kEla= pvRt wpr 2e tem j i=vil&g wpr btavvama& AavtI
htI. :@Ptma& p8 nag te j rIte mug4 wpr btavvama& Aavto
hto. 2eLle nagnI p/itmane i=v@nI (kEla=nI) p/itma9I Alg
pa6I klakaro temnI mr@ p/ma8e btavva laGya hta.
Ð. i=v@ne n4rajna Sv£pma& 6mra sa9e btavvama& Aave 2e. te
ivcar 0rtIk&pnI talb)0 0/UjarI9I pvRtnI wTpi]anu&
Aak<itkr8 2e. 0rtIna p6ma& 9ta dba89I jmIn W&cI 9va9I
Ane JvaXamuÌ9I pvRto bnta hoy 2e. i=v@nu& {aa&6v n<Ty Aam
kEla= pvRt bntI v`te 9yelI 0/UjarI btave 2e. h&me=a& n4rajnI
Aak<itne p<(vInI mafk goX kem btavvama& Aave 2e?
Ñ. i=v@na mnuQy Aakar sa9e i{a=uX btavvama& Aave 2e. te
i{a=uX ihmalynI pvRtmaXana& bIja& kEla= i=`r sa9ena& i=`ro
btave 2e. Aaid kaXma& kEla= pvRt (i=vil&g) Ane Aaju&baju&na&
i=`ro pha6 trIke j ic{aoma& btavvama& Aavta& h=e.
37
ÉÈ. ru±axnI maXa h&me=a& i=v@na ma9a wpr Ane gXama&
btavvama& Aave 2e. AhI& Aek
ic{ama& ru±axnI maXa snatn
s&Sk<itna sa0us&to vapre 2e te
btavI 2e. te maXana m8ka jota&
lag=e ke temnI spa4I ihmalyma&
Aavela pvRtmaXaAonI mafk
va4aAovaXI deày 2e. te kar89I
j tene i=v@ sa9e btavvama& Aave
2e. AhI& ru±axna Aek m8kanu& mo4u& krelu& ic{a Ane ihmaylnI
pvRtmaXanu& A&tirxma&9I
lI0elu& ic{a AaPyu& 2e. te be
ic{aonI
sràm8I9I
ko:p8 smju ma8sne
deà=e ke tema& Aekdm
smanta 2e. ru±axmaXa
Aap8a Aaid pu£qoAe kEla=nI Aajubaju AavelI ihmalynI
pvRtmaXaAo btavtu& Aak<itkr8 kyU& 2e te 2e. i=v@nu& Aaid nam
ru± htu&. te9I ru±axmaXano A9R ihmaly pvRtmaXa 9ay 2e.
ÉÉ. i=v@nI j4a h&me=a&
pvRtna i=`rnI mafk j
go5vIne btavvama& Aave
2e. AhI& kEla= pvRtnu&
Aek dUr9I lI0elu& ic{a
AaPyu& 2e. te ic{anu&
inrIx8 krta& lag=e ke
i=`r wpr9I brfna&
(Ice and Snow) nIce
p6ta& zr8a&nu& ±+y
38
Aap8ne mnuQyna ma9a wprna zulta vaX jevu& j deày 2e.
i=v@nI j4ama&9I ndI =£ 9tI btavvama& Aave 2e te fKt kEla=
i=`rma&9I srSvtI ndI wTpNn 9tI htI tenu& Aaid kaXma&
Aap8a ¢iqmuinAoAe Aak<itkr8 kyuR& htu& te btave 2e. srSvtI
ndI suka: jva9I tenI yad -UlI gya hta. te9I hve g&ga ndIne
srSvtInu& S9an i=v@nI j4ama& Aapvama& Aave 2e.
hve b0ane ~yal AaVyo h=e ke Aaje i=v@na m&idroma& 9tI pUja
`re`rto kEla= pvRtnI pUja 2e. Aa pUja p/k<itnI pUja 2e. je
pvRtoma&9I @vn Aa0ar AaptI srSvtI Ane bI@ ndIAo
wTpNn 9tI htI te ihmalynI pvRtmaXanI pUja 2e. te hkIkt
w6Ine Aa&è vXge tevI co~Ì 2e. p/k<itna p/kop9I 9yela
ivna=ne lI0e te `rI hkIhto Aap8e -UlI gya hta. i=vdevnI
sa9e m&idroma& Ane mnuQy Aak<itvaXI 2bIAoma& btavvama&
AavtI ke4lIk Aak<itAo pa2X9I wmervama& AavI htI.
:@Ptna juna rajaAo (Pharaohs) temna mug4 wpr nagnI
f8a btavta hta te Ane Tyar p2InI bI@ s&Sk<itAoma&
vpratI A0Rc&±nI s&}aaAo i=v@na Aak<itkr8ma&9I AavI h=e.
i=vil&gno ATyarno p/cilt yonI Ane il&gno An9R Aap8a
Aaid ¢iqmuinAoAe Aapela saca A9RnI -Ulv8I9I 9yo hto.
p/cilt vat sacI hoy to i=vil&g wpr kX=ma&9I pa8I st\t
=a ma4e trpavvama& Aave 2e? te An9R snatn s&Sk<itna
b/a×i8k yugma& 9yo hto. tem 9vanu& mu~y kar8 srSvtI ndInI
sukv8I9I Ane la&ba gaXa su0I 9yela duQkaXnI karmI Asrna
lI0e saca& kar8ona -Ula89I 9yo hto. vXI lagtavXgta
prde=IAoAe temnI s&Sk<itne W&cI btavva tema& wmer8I (jevI ke
AayoRnI c6a:no tkR) krI htI. Hu& drroj mara gamma& S9aipt
krela i=v@na& d=Rn krI m&idrnI pirk/ma krto hto Ane Tyar p2I
tulsIKyarama&9I Aacmn leto hto. Jo p/cilt maNyta sacI
39
hoy to marI tem krvanI ik/ya p=uta9I p8 wtrtI g8ay. hjaro
-aivk nrnarIAo te ik/ya i=v@na m&idroma& saca A9RnI
smj89I A9va A8smj89I kre 2e. =u& -artna te loko
p=utanI ik/ya kre 2e?
AHI& je i=vil&g ivqenI smj8 AapI 2e te smj8 vE}aaink
28av4 Ane Nyayna paya wpr9I sco4 W-I krI 2e te9I te
hkIkt AeklI j sacI 2e. nvI wpjavelI vataRAo fKt kLpnaAo
j 2e. i=vnu& 0am kEla=ma& 2e Ane temnI pTnI pavRtI (pvRtnI
pu{aI) 2e te Aaid pura8oma& AapelI k9aAo sa9e AhI& Aa puStkma&
Aapelo i=vil&g ivqeno `ro A9R sumeX9I jo6ay 2e. p/cilt
maNytaAo AjugtI Ane jU5I 2e. te frela mgjvaXa de=I
manvIAo Ane lagtavXgta prde=IAoAe p/otsahn AapIne
W-I kravelI fKt g&dI Ane bI-St kaLpnaAo 2e. hve te
A&0arp2e6o fgavI Aap8a pUvRjoAe i=vdevna m&idroma& S9aipt
krelI p/k<itnI -Vy Aak<itne tena saca A9Rma& ma8o.
i=v@nI pUja te p/k<itnu& pUjn 2e. Aap8a Aaid ¢iqmuinAoAe
i=v@na m&idroma& S9apelu& Aak<itkr8 fkt Aap8I s&Sk<itna
p/a8 sman baremas vhetI srSvtI ndInI kEla= pvRtma&9I 9tI
wTpi]ana mihmanI yadgIrI Ane wjv8I 2e.
40
Preface
I have written this book for readers who possess
intelligence and an open-minded curiosity. Those who
are superstitious and close minded should stop here and
go no further. In our ancient Sanatan culture there are
several symbols and figures which represent sounds,
ideas and physical concepts from time immemorial.
Their origin is shrouded in mythical and mysterious
fables and tales. This may give the impression that the
whole concept behind them is absurd. I have, through
research and deep conceptualization, explained here the
origin of three of the most famous symbols (Om,
Swastika-Chanlla and Shivalinga) used in our culture.
The primordial creational sound Om or Omkar Mantra is
represented by the symbol ¬ in the Sanatan culture. It is
vividly shown in this book that the origin of this symbol
lies in our belief that the universe was created with this
primordial sound. It was conceptualised by our
forefathers during the Saraswatisindhu cultural period.
The discovery of the dried riverbed of the Saraswati has
made it possible to recognise these ancient philosophies.
Through out India and elsewhere (in spite of its recent
negative connotation in the West), we in the Sanatan
culture use the Swastika for all auspicious occasions
(marriage, religious cerimonies, etc). The origin of the
Swastika
also lies in our ancient Saraswatisindhu
culture. Stone tablets bearing
have been excavated in
many ancient ruined city sites (Dholavira, Banawali,
etc). It had originated from the ancient practice of sun
worship (sUyRdev pUja) and representation of the sun by a
circle with radiating lines. How the actual sun
41
representation metamorphosed into the present symbol is
clearly shown in the book. It also shows that the origin of
Chanllo (Bindi, Tilaka) lies in the sun symbol.
In every village one finds a Shiva temple bearing the
Shivalinga ( ). The secret of its origin lies in the life
bearing water of the river Saraswati. The creation of the
river Saraswati from Mount Kailash is represented in the
Shiva temples. Shivalinga is a representation of the
Kailash Mountain. The Kalash with dripping water and
the bund around the Shivalinga are simulation of the
river Saraswati. The present prevalent meaning of Linga
and Yoni is the creation of a vulgar mind. This is clearly
explained in the book.
The explanations given here regarding the representation
of complex ideas like Omkar Mantra, Swastika and
Shivalinga do not diminish the importance and relevance
of these in modern times. On the contrary they increase
our faith in the scientifically based ancient Sanatan
culture.
Lastly, I must express my sincerest appreciation to my
family members Samuben, Shailesh, Usha, Sneha,
Bhupendra and my grandchildren for their unstinting
help. I am also grateful to all the scholars from whom I
have extensively learnt about the Sanatan Culture.
Jaya Bharat
Dr Narsinhbhai Maganlal Patel
Laxmipura, Palanpur, Gujarat
December 2005
42
4 Om ¬
Om or Aum is considered the primordial sound in
the Sanatan culture. The modern representation of
this sound: ¬ is just the calligraphically shortened
version of the proper Om alphabetically written in
the Devanagari script. On the surface, many
Sanatan symbols, like Om, may seem to be
ridiculous or even dumb, but discovering the
deeper original ancient meaning and hidden
creational processes behind them is sheer joy.
The deep roots of the Om symbol lie in the ancient
practice of yogic meditation. Early humans in
archaic times may have stumbled upon meditation
shortly after they domesticated fire and began using
it for warmth. Huddling close
to their bonfires for warmth,
they probably spent hours
staring at the hypnotic flames.
Even today, Sadhus meditate
in front of fire (Dhuni) as
shown in the picture. At some
point, our archaic folks might
have noticed that doing so
could produce an altered state
of consciousness similar to
that produced by the use of
certain plant extracts (like the Soma plant of the
Rigveda), sexual orgasm, physical trauma, and
43
near-death experiences. They discovered that that
state of mind also has a healing effect on the body
and a calming effect on the mind. These
realizations lead them to discover other ways to
recreate that unusual state of mind at a desired
moment and place. Thus they discovered various
meditation techniques. One of these techniques was
to meditate with rhythmic utterance of the Om
sound. This practice led them to gauge our inner
depth and probe the limit of the outer universe.
This meditative technique was named by our
ancestors as Yoga in our languages (Yoga = to join
body and soul together).
More than seven thousand years ago in the
Saraswatisindhu valley culture (Sanatan) the Om
sound was universalized by enlightened sages. It
was the era when our forefathers (Rishis) wrote the
Rigveda and other holy scriptures in the Asharams
on the river banks. The Saraswatisindhu
(Harappan) civilization flourished in the basins of
the Saraswati and the Sindhu rivers. Seven
thousand years ago the river Sindhu flowed almost
as per its present course. The lower part of the river
Saraswati flowed parallel to and east of the river
Sindhu and emptied into the gulf of Kachchh. It is
believed that earlier then that time it flowed
through the present day Nal Sarovar in the state of
Gujarat. The ancient port city of Lothal was
situated on its bank. Eventually, it emptied itself
44
into the gulf of Khambhat. Both the rivers
originated in the Himalayas from glacier waters.
They were the vital life giving force for the
creation of the Sanatan culture. Those mighty rivers
and the area of the Saraswatisindhu Pradesh are
shown in Figure-1 (page 9). In January 2002, it was
announced to the world that the Indian Institute of
Ocean Technology had found two submerged cities
in the gulf of Khambhat. They also announced that
they were submerged approximately 9500 years
ago based on Carbon-14 testing on carved wood
45
samples recovered at the submerged sites. These
cities may have been located in the delta region of
the ancient Saraswati. The above map shows the
ancient course of the Saraswati and the location of
the submerged cities.
The Himalayan range and the plateau of Kachchh
are seismically active areas due to the plate
tectonics. We have a vivid memory of the Bhuj
(2001) and Anjar (1956) in Kachchh and the
Kashmir (2005) earthquakes in recent years. About
seven thousand years ago, due to similar
earthquake activities the Saraswati started losing
some of its mighty tributaries and hence also the
amount of water it carried to the gulf of Khambhat.
About four thousand years ago it lost all of its
water and completely dried up from the Himalayan
foot hills to the gulf of Khambhat. It is now only
discernable from views taken by satellite. The
upper perennial course of the river in the
Himalayas was diverted by earthquake movements
to the river Yamuna. There still exists a seasonal
river called Saraswati in the foot hills of the
Shiwalik mountain range. The diversion of the
Saraswati water is still remembered in the story of
Triveni-Sangam (three river confluence- Ganga,
Yamuna and Saraswati) at Prayag (Allahabad). The
plate tectonics may have also raised the Kachcha
pleatau and would have resulted in the new river
drainage system which exists today in this area.
46
In addition to the complete loss of the river
Saraswati, the valleys also lost their annual rain fall
due to atmospheric changes. This started
desertification of the area some forty five hundred
years ago along with the complete drying up of the
now fragmented reservoirs along the course of the
ancient river Saraswati. The desertification of the
area was completed in approximately three hundred
years. The mighty Egyptian Old Kingdom, which
built the Pyramids, was also destroyed during the
same period due to the worldwide phenomenon of
El Ninio which created a drought condition almost
all over the world for about three hundred years.
The Sanatan culture which had its roots in these
valleys was badly mauled and lost its forceful
vitality due to these plate tectonics and prolonged
draught conditions. However, it survived but with
less vigour and moved towards other areas and the
river valleys of the Ganges and Yamuna where it
again flourished until pillaged by outside invaders.
The original Om mantra not only survived all these
upheavals but also spread across Asia. In modern
times it has moved almost all over the globe along
with the Yogic system of exercises and breath
control.
The original representation (3000 BC) of the
primordial Om sound in the Saraswatisindhu valley
was as shown in the following picture below
complete with ancient writings. There are several
47
stone
tablets
which
vividly
depict
this
configuration. Quite a few
of these ornately carved
stone tablets have been
excavated from several
ruined cities (Dholavira,
Rakhigrahi, Harappa, etc)
of the Saraswatisindhu
culture. The figure represents a flower pot (earth)
nourishing a plant (life). It is also shown below in
sketch form along with it rotated 90 degrees.
It will be obvious to any rational reader that it was
the source from which the letter v in the
Devanagari alphabet was created. Many of the
Devanagari alphabet letters were similarly created
by the Pandits from sounds of familiar objects. In
fact, the original configuration is used today in the
Kannada and Telugu languages in South India to
express the Om sound.
The Om sound is believed to be the basic sound of
the world in the Sanatan culture and it contains all
other sounds. The sound Om can be represented as
48
vë in the Devanagari alphabet. The present form
is made up of three letters, aa-v, au-v¨ and ma-e
which, when combined together, make the sound
Aum or Om (vë). The subsequent gradual
calligraphical representation changes are shown in
the following figure along with the final sign used
today in the Sanatan culture.
The logical conclusion is that the present symbolic
representation of the ancient Om sound was
metamorphosed by our forefathers from the
Devanagari alphabetic representation. It in turn was
derived from the ancient representation of
primordial sound Om practiced on the banks of the
now vanished river Saraswati.
It is interesting to note that the representation of the
sound Om has propagated itself in various other
Asian alphabets; (Tibetan, Thai, Srilankan, Java,
Taghalak, Khmer, Tamil, Telugu, Kannada and
Malayalam). The Om sound representation in them
is almost identical. The reason behind this is that
they are all derived from the Brahmi script. The
Brahmi script in turn was derived from the
Saraswatisindhu syllabary which was used to carve
49
words on the magnificent tablets
(Seals) of that ancient culture. For
example, in the Tibetan alphabet
Om is represented as shown here.
The story of the evolution of Om symbol to denote
the primordial sound Om, presented in this chapter
does not in anyway diminish its significance in
modern times. It strengthens our faith in the very
ancient Sanatan culture because we now know the
logic behind these ancient beliefs and symbolisms.
The more we discover about the true meaning of
these symbols and figures, the more we may
understand the depth and hidden meanings behind
our unique culture. Only through them our ancient
faith has survived the continuous savage onslaught
from outside cultural forces and natural calamities.
Om is not a word but rather intonations, which like
music, transcends the barriers of age, race, culture
and even time. It is a mantra or prayer in itself. If
repeated with the correct intonation, it can resonate
throughout the body so that the sound penetrates to
the centre of one's being, to the atman or the soul.
There is harmony, peace and bliss in the recitation
of the simple but philosophical Om sound. It
cannot be described satisfactorily with words, it can
only be experienced.
It is believed that the vibrations produced by
chanting the Om sound correspond to the original
50
vibrations that first arose at the time of creation of
the Universe (“The Big Bang” theory according to
modern astronomy). The sound of Om is also
called Pranava Nada, because it sustains life and
runs through Prana or breath.
¬
(Om) also provides a dualistic viewpoint. On
one hand, it projects the mind beyond the
immediate to what is abstract and inexpressible; on
the other hand, it makes the absolute much more
tangible and comprehensive to the mind. It
encompasses all potentialities and possibilities. It is
everything that was, is, or can yet be in the
Universe. It is omnipotent, omnipresent and
remains undefined to the ordinary human mind.
The Om sound is of paramount importance in the
Sanatan culture. It is a sacred syllable representing
Brahman, the impersonal Absolute - omnipotent,
omnipresent, and the source of all manifest
existence. Brahman, in itself, is incomprehensible;
as such a symbol becomes mandatory to help us
realize the Unknowable. Thus the symbol ¬
represents both the unmanifest (nirguna) and
manifest (saguna) aspects of that Unknowable God.
¬
51
5 Swastika and Chanllo:
Swastika
The swastika is one in the menageries of holy
symbols in the Sanatan culture (Hinduism, Jainism,
Sikhism and Buddhism). In the West, it has been
more widely known as the badge of the Nazi
movement. In classical Sanskrit the word Swastika
comes from two words su, meaning well, and asti,
meaning to be. In the Gujarati language it is simply
translated as (su--9av or su-krnar) “become well” or
“well doer”. Generally it is called Sathio (sai9Ao).
Sathio is widely used; by traders to mark opening
pages of their account books, on thresholds, on
doors of houses, on temples. It is created, generally
by various type of grains or vermillion powder, to
witness auspicious ceremonies like weddings and
laying of foundation for important structures.
During the Vedic period, before the matured
Sarswatisindhu civilization reached its glorious
period around 2600 BC, the sun was called Savitar
in both the Vedic and Prakrit Gujarati languages.
That becomes obvious when one studies the holy
Gayatri Mantra in the Rigveda.
Aum bhoohr bhuwah swaha; Tat SAVITAR varenyam
Bhargo devasaya dheemahi; Dhiyo yonaha prachodayat
The lord of water, earth and heaven; Oh SUN, the great god,
we worship your glory; Give us insight into the secret of
your creation.
52
After the advent of the Brahmanical period and the
construction of the Devanagari alphabet from the
Brahmi alphabet in the first millennium BC the
original Savitar word was transformed into
Classical Sanskrit as Swastika. Hence, Swastika is
the representation of the sun. Let us survey the
present situation regarding the representation of the
Swastika before we embark on its antiquity.
Present Situation
In 1786, Sir Williams Jones at Kolkata, announced
the affinity of the Sanskrit, Greek and Latin
languages which led to the establishment of an
Indo-European language group. This in turn
necessitated the notion of people called Aryans
who spoke the mother of all these modern
European and Asian languages. This led to a frantic
search by the western archaeologists to link the prehistory of the European people to the ancient
Aryans. That search received great impetus when
objects with Swastika marked on them were
discovered by Heinrich Schliemann in the ruins of
Troy in 1871-72. Schliemann then consulted two
leading Sanskrit scholars of the day, Emile Burnouf
and Max Muller. They all concluded that the
Swastika was an Aryan symbol. This idea was
taken up by many other writers. The Swastika
quickly became popular in the West, appearing in
many designs from the 1880s to the 1920s. People
like Alfred Rosenberg associated it with a Nordic
53
master race originating in northern Europe. So far
the Swastika symbol had a positive connotation in
Europe and was
used in the design of
many
common
objects (see the
inset picture) even
though
it
was
wrongly
assigned
solely
to
the
European heritage.
In
Europe
the
Swastika is now
called by various names; Crooked cross, Cross
cramponned, Cross gammadion, Fylfot - meaning
"four feet", Sun wheel, Tetraskelion – Greek "four
legged", Thor's hammer, Hooked cross, Black
Spider.
The existence of the Swastika in several cultures in
the past can be explained by three different modes;
(i) independent development, (ii) cultural diffusion,
and (iii) external event. However, it is recognised
that it has mostly travelled west from east may be
with the Indo-European languages.
The positive meaning of the Swastika symbol in
Europe was subverted in the early twentieth
century when it was adopted in a “twisted” form as
the emblem of the Nazis (National Socialist
German Workers Party -February 1920). This
54
association occurred because Nazism stated that the
historical Aryans were the modern Germans and
then proposed that, because of this, the subjugation
of the world by Germany was desirable, and even
predestined. The swastika was used as a convenient
symbol to emphasize this mythical Aryan-German
correspondence. Since World War II, most
westerners see the swastika as solely a Nazi
symbol, leading to incorrect assumptions about its
pre-Nazi and present use elsewhere. The present
confusion is caused by the ignorance of westerners
unwilling to accept its ancient origin and true
significance of its meaning in other cultures of the
world. The few learned people in the West who are
aware of its true origin have somehow remained
largely silent and let the confusion prevail.
Since the end of World War II, the traditional uses
of Swastika in the western world are discouraged.
Many innocent people and products were wrongly
prosecuted. There have been failed attempts by
outside individuals and groups to educate
Westerners to look past the Swastika's recent
association with the Nazis and look to its
prehistoric origins. Unfortunately, the Swastika
remains a core symbol of the neo-Nazi groups in
the Western World.
Leaving the Swastika in the neo-Nazi hands is the
worst disservice we can do to the cultures of Native
Americans (Tlingit, Navajo, Hopi, Cuna, Inca, and
55
Aymara) and also all the cultures in Asia (India,
Tibet, China, Japan, etc.) which are derived from
the Sanatan culture. It is also a disservice to the
Basque, to the French, to the Greek, to the Swiss, to
the Irish and to the Ashanti of Africa. They have all
used the Swastika as an auspicious symbol. It also
appears as a repeating ornamental motif on a tomb
in the Basilica of St. Ambrose in Milan. The
"Friday" mosque of Isfahan, Iran and the Taynal
Mosque in Tripoli, Lebanon both have swastika
motifs. I have seen swastikas in museums all
around the world, from Tokyo to New York and
from Moscow to Madrid. It is shown on the
entrance of the Philadelphia Museum of Art. A
closer look at the Capitol building in Washington
D.C. will reveal several friezes formed out of
swastikas. It is difficult, in fact, to find an old book
on art, mythology, or archaeology, without
swastikas profusely represented in them.
In Bharat and in the countries of the Indo-China
region the Swastika is used by common folks in a
positive sense in everyday religious rituals.
However, most of them are blissfully unaware of
its negative connotation and the raging row
prevailing in the Western World.
The time is ripe to redeem this beautiful and
enigmatic symbol, taking it out of the hands of the
fanatic neo-Nazis in the West. We must bring it
back to its ancient illustrious place, especially in
56
the West. It deserves a place among other similar
symbols in the long history of mankind and
especially in the cultures of the Western World.
Early History
Since the Swastika is a complex symbol, it may not
have been used independently by many human
societies all over the world. Ions ago it must have
been diffused by some archaic folks. One of the
oldest known Swastikas was painted on a
Palaeolithic cave at least 10,000 years ago. Several
scholars postulate that there was a single origin for
this prehistorical sacred symbol. They point to the
Proto-Indo-Europeans as the source of the symbol.
The Swastika was not adopted by Sumer in
Mesopotamia, which was established around 3500
BC. Also it has not been found in the Old Kingdom
of Egypt which began in 2630 BC. These cultures
were already well-established and deified their
gods without the use of the Swastika.
In archaeology the Swastika first appears in the
excavated sites of the Saraswatisindhu culture and
the oldest is dated to be around 3000 BC. It may
even have been present earlier than that time as
90% of the sites so far identified remain
unexcavated. Several stone tablets have been found
from many ancient sites (Harappa, Banawali, etc)
with depiction of the Swastika on them. The
following picture shows two of those tablets.
57
Origin in Antiquity
In antiquity, the sun was recognised by early
humans as the source of all life and was revered by
them. In the beginning of this chapter I have
demonstrated this phenomenon by quoting the holy
Gayatri mantra from the Rigveda. This reverence
for the Sun required its representation in a physical
symbolic form. The first representation was simply
the picture of the sun as seen by the naked human
eye. It was a circle indicating the round sun and
lines radiating from it indicating rays. This
configuration is shown below in the first figure.
The original configuration then was simplified over
the millennia through several stages, as shown in
the above sketch. Eventually the present prevalent
final form evolved to symbolically represent the
sun. This is the real and true meaning of the
58
Swastika. It is simply a representation of the sun.
By drawing the Swastika with grains or other
materials at the time of any auspicious occasion,
we are invoking the sun, the Lord of all creation, to
bless and to witness the proceedings.
The sun representation in our prehistory also took
another path to arrive at a different configuration.
This configuration took a slightly different form to
accommodate the sun representation on the
rectangular space available on a human forehead.
The various stages of these configurational changes
of our sun are shown in the following sketch. The
final configuration is used all over India today.
The final confuration
is now regularly used by
Sanatan Holy men on their forehead and arms. It is
also used on doors and walls of houses and temples
as an auspicious symbol. The true meaning of this
enigmatic symbol was lost until now. This loss was
mainly due to natural and man made calamities
suffered by our ancient culture after the river
Saraswati dried out from the hub of our cultural
area. We now know that the configuration
represents the mighty lord of our universe, the sun.
59
However, its surprised continuous use on the
Shivalinga in all the temples in Bharat has led me
to a new and original meaning associated with the
whole configuration of the Shivalinga as shown in
the figure below.
Note the sun symbol
on the Shivalinga. That
symbolic representation of the sun is always
associated with Shivalinga. This enigmatic
configuration of the Shivalinga is the subject of the
next chapter.
Chanlla:
Before we embark on the exploration of
Shivalinga’s meaning we should explore a further
twist in the tale of the Swastika. The three lines and
a dot on the middle line to represent the sun, went
through further gradual modifications over time.
60
Fortunately, all the stages through which the
modifications happened are being used in our
culture and hence it is easy to see them today.
The picture here shows a Shadhu with the standard
version of the sun sign shown
on his forehead. It still
remains the most widely used
symbol to indicate the sun on
a human forehead apart from
the Chanlla (Tilak, Bindi,
Bindiya)
As time passed variations of the standard sun sign
started to appear. One of the
variations showed the dot for
the sun on the lower line
instead of the middle line.
These lines as explained
earlier represent the sun rays.
A picture of a Shadhu with
the sun dot shown on the
lower line is shown here.
The third stage of the
modifications was to show
the sun dot separately from
the lines showing the sun
rays. A Shadhu, showing the
lines of rays separately from
the sun dot, is shown here.
61
The forth and the final
modification was to eliminate
the lines indicating the sun
rays altogether from the sun
representation leaving only
the dot on the forehead. A
picture with that modification
of the sun sign is shown here.
This is how the Chanllo
(Tilak, Bindi, Bindiya, etc) evolved in our Sanatan
culture from the sign that represents the sun. The
Chanllo of red colour on the forehead shows that
the sun is the Supreme Lord and master of this
world and it is present to witness whatever
activities we are conducting.
A round Chanllo
of red colour placed on the
forehead
of
any
married women of the
Sanatan culture shows
that she has a master
(husband). However, it
has now become an
ornament to wear in
any shape and colour by females of all ages and all
cultures (young, old, married, widowed and
unmarried). A picture showing the Chanllo on the
forehead of a female is shown here. It is not an
unusal sight to see a western woman of any race
wearing it in London or Los Angels.
62
The evolution of the Chanllo from the ancient sun
sign is shown serially with the same five pictures in
Figure-2 on page 22.
Thus the Chanllo represents our sun the Lord of
every living being. These modifications of the sun
sign to evolve into the Chanllo as discussed above
are shown below in a sequence.
The representation of the sun sign through the
millennia has changed. However, in spite of
thousands of years of modifications the progressive
stages are easily discernable today from the signs
worn by holy men of the Sanatan culture.
We now realise the true meaning of the
enigmatic signs of the Swastika and the Chanllo.
They simply represent the Sun, the Supreme
Lord of our world. It is wonderful to encover the
true meanings of these ancient signs.
63
6 Shivalinga
The symbolic creation of the Shiva-linga and its
meaning has been confused and misunderstood by
many for a long time. In Gujarati it is also called
Shiva’s Pendi (i=vnI pe&6I - i=v@nI pe&6I). In Northwest
China where Tocharian languages (Indo-European
languages) were spoken, there are several names
like Tarim Pendi and Junggar Pendi which means
Tarim Mountain and Junggar Mountain. Thus,
Pendi means mountain. The Siwalika (Siwa-linga)
mountain range which is parallel to the Himalayas
in Uttar Pradesh and Nepal gives us an indication
that Linga may also mean mountain.
The original meaning of the word Shiva may have
been hard stone or hard substance. Words in
Gujarati like Sheela, Sheesu, Sheesam, etc (i=lap(9r, i=su&-Lead 0atu, i=sm-k58 lak6u&, vgere) indicate
stone or hardness of the substance. Thus the Shiva
word may have been used to indicate --rock. These
interpretations lead us to a definite recognition that
the original meaning of the Shiva-linga was “RockMountain” which has been forgotten through
millennia due to natural and manmade traumas.
Let us review the present confused and
misunderstood meanings of the word Shivalinga.
The tangled meanings of the Shivalinga are rooted
in a vast quantity of recent literature. Hence, we
64
will review here only the very important stories
related to it. It is always the case in any situation
where the original meaning of the subject is lost,
there invariably sprung up a multitude of stories,
legends and opinions.
The Present Situation
We have been hammered for centuries with the
idea that the Shivalinga represents Lord Shiva’s
genitals. It thus represents the aspect of the
Supreme Being that continuously dissolves to
recreate the cyclic process of creation, preservation,
dissolution and recreation of the universe. Lord
Shiva is the foremost of
the Sanatan Trinity, the
other two being Lord
Brahma
and
Lord
Vishnu. The Shivalinga
is a widely used
symbol to represent
Shiva’s aspect in the
Sanatan pantheon of
the trinity. The Ling
consists of a feminine
base “Yoni” or “vagina” and a rising
masculine portion “the Phallus” or “penis”. We will
see later what these symbols truly represent.
For centuries Lord Shiva has been worshiped in the
form of a deity image or a Linga. It is hard to find a
65
town or a village in Bharat where the Shivalinga is
not worshipped. There are some twelve JyotirLinga scattered all over Bharat where, it is said,
Lord Shiva appeared in the form of a light or fire
(Jyoti) linga. They are Kedarnath in Uttarachal,
Viswanath at Kashi, Mahakaleswar at Ujjain,
Tryambakeshvar near Nasik, Malikarjun at
Srisailam in AP, Omkareshvar on river Narmada,
Nageshvar at Darukvan in Maharashtra,
Bhimeshwar at northwest of Poona, Somanath in
Gujarat, Rameshvar at Setubandha in Tamilnadu,
Grineshvar near Elora caves and Vaijanath at
Deogarh in Bihar. These narrations clearly
represent volcanic activities at those locations and
subsequent creation of a mount.
The love and devotion for Lord Shiva is so all
pervading that in addition to the Gods and humans
even the demons worshiped him with total
devotion. The famous Demon king Ravana of
Shrilanka was known to be such
a great devotee of Lord Shiva
that Lord Rama requested him
to perform the Shiva worship
(pooja). He blesses anyone who
worships him - be it a saint or a
sinner. Most of our village
temples have the Shivalinga
representation similar to the one
shown here.
66
The normal configuration in the temples has water
pot (Kalash) dripping water on to flowers and
leaves (Billipatra) adorned Linga. There is always a
snake (Naga) encircling the Linga with a basin
(Yoni) channelling the water to a uniform flow
leading outside the temple. Lord Shiva has always
been accorded the highest place of reverence in the
Sanatan culture. The above complicated and ornate
configuration
may
have begun during the
later phase of the old
Saraswatisindhu era.
A simple terracotta
Linga has been found
from
Kalibangan
(about 2600 BC)
which is shown here.
1. The great Epics and Puranas have several
different versions of the creational legend of Lord
Shiva. In one version, a great fire appeared from
the cosmic waters. From its flame Shiva Linga
emerged to claim supremacy and worship over
Brahma and Vishnu. To control the tremendous
energy generated, he castrated himself because no
one could castrate the Supreme Lord. Thus the
fallen phallus of the Supreme Lord destroyed all
the worlds until it reached the Yoni of Uma/Parvati
and cooled down. All procreation of the worlds
started after the worship of Yoni-Linga was
67
established and all the
Gods, including Vishnu and
Brahma,
accepted
the
supremacy of the Lord
Shiva. This is clearly a
description of volcanic
activity and the resultant
cooling of lava by water as
shown in the picture.
2. Lord Shiva’s other form is “Ardhanariswara”
half man and half woman. Lord Shiva, with his
consort Parvati, is always in a
celestial dance of procreation
and destruction of the worlds.
He is the embodiment of
‘Kama’ (the sexual lust,
desire or pleasure, the force
that is the basis for the
evolution of diverse life
forms and humans on earth)
in the forms of androgynous
Ardhanarishwara and the
Phallus. He is also the
destroyer of ‘Kama’ when he
destroyed ‘Kamadeva’ only
to restore his life at the
request of Kama’s wife Rati. This description
represents regeneration after havoc created by
volcanoes and earthquakes due to plate tectonics.
68
The resultant mountains (male) and the rivers
(female) are clearly represented in dualistic form in
“Ardhanariswara”.
3. There is also a legend of the Parad (mercury)
Shiva Linga. According to this legend, the Gods,
who frequently took a beating at the hands of the
Rakshasas (demons), went to Lord Brahma for a
lasting solution. Lord Brahma told them that only a
warrior born out of Shaktipunj (semen of Lord
Shiva) can lead the Gods to victory. The Gods
prayed to Lord Shiva who agreed and who
approached the Goddess Parvati to conceive a son.
The Gods sent Agni, the God of fire, in the form of
a pigeon to observe the great event. Lord Shiva
found out and released His semen in the fire of
Agni. Even the god of fire couldn't bear the heat of
Lord Shiva's reproductive force and dropped it in
the holy waters of the river Ganges. Mother Ganges
also couldn't stand the heat and released it on earth.
After being sanctified by the holy fire and sacred
waters of Ganges it became mercury or Para - the
only metal in liquid form.
The solid form of mercury is popularly known as
Parad. Solidifying mercury is an ancient Vedic
science. Dharnidhar Sanhita gives sixteen steps
through which the liquid mercury has to pass in
order to make it a pure and beneficially pliable
solid. Then mercury can be moulded into a solid
Linga form. A number of references point to the
69
holistic benefits of Parad Shivalinga. It is said that
there is no better Shivalinga than the one made out
of mercury. In the Sarvadarshana Sangraha, Lord
Shiva says to Goddess Parvati that anyone who
worships the Linga made out of solid mercury will
face no death, disease or dearth. It is mentioned in
the Rudrasannhita that the Parad Shivalinga
embodies the power of Lord Shiva. Through its
worship one can attain anything desired. It bestows
immense benefits to the worshiper.
This parable clearly indicates release of new
material (lava) at the time of volcanic eruption and
purification of thus released material. It clearly
represents the flow of lava by mercury. The only
metal which exists in liquid form and flows like
fresh lava at ambient temperature. Even the release
of semen is nothing but the eruption of a volcano.
4. Skanda Purana tells us that Lord Shiva used to
love a great forest called the Sleshmantaka. It was
here that Shiva spent so much time immersed in the
wilderness of this forest in merry-making,
assuming the form of a deer. It is stated in the
Skanda Purana – “As I reside here in the forest of
Sleshmantaka in the form of a beast, my name will
hence be known as “Pashupati” the world over. To
this day the Sleshmantaka forest remains sacred
and is known as Mrigasthali (the abode of deer).
The name Pashupati means “Lord of Animals”
(Pashu -animal, Pati- Lord) and was later taken to
70
mean (Lord of Souls). This
legend is depicted on several
tablets found at ruined cities
(like Lothal, Dholavira, etc) of
the Saraswatisindhi culture. A
tablet, appropriately called
“Pashupati Seal”, is shown here.
All the above legends are conceptualized in the
Puranas, Epics and Tantric books and should be
considered secondary to the Vedas. There are no
magical stories in the Vedas even though Rudra is
mentioned in it. However, most of these stories are
clearly related to destruction by earthquakes and/or
by volcanoes and the subsequent regeneration of
the mountains, land and rivers which in turn allow
return of life to replenish the land. The purification
of mercury is just formation of soil from the lava.
Rational Development
In the Vedas there is no concept of the Linga
associated with any of the Devas mentioned in it.
Although there is mention of Rudra with some of
the attributes associated with Shiva of the Puranic
period. Hence the conceptualization of the linga as
a phallic symbol does not carry much weight in our
Vedic past. It is clearly based on a misconception
of the earlier meaning which was lost with the
drying up of the river Saraswati and resultant
horrific trauma suffered by our culture.
71
The ancient people of the Saraswatisindhu culture
recognised the importance of rivers, especially the
river Saraswati, for their very existence. They also
realized that the perennial water in all the rivers
comes from the ice clad Himalayan peaks and their
glaciers. It wasn’t too difficult for them to see that
the sun melts the ice and snow and creates the
perennial rivers. This realization created reverence
for the sun and mountains in general and the
Himalayan
peaks
in
particular. This association of
mountain and the sun was
conceptualized
in
the
physical form by the ShivaLinga and the sun
symbol. This pure concept is
still practiced in most of the
Shiva temples.
The above figure clearly shows the mountain peak
(Kailash) with a symbolic sun along with some
other attributes which developed later. Notice the
representation of the sun by the symbol
on the
Linga. We have already discussed its derivation in
the previous chapter. Initially, the Linga had no
bund (embankment) around it. One of the pictures
shown below has no bund. However, to create the
proper mountain and river scenario they added a
water pot (Kalash) with a constant dripping of
water over the Linga (Mountain) as shown in an
72
earlier picture. This dripping water needed a bund
to channel it into a stream representing a river. This
bund was initially square and then various other
shapes. The classic “Yoni” shape was created
during the Bramanic period of the Sanatan culture
and given meaning associated with the word
“Yoni”. It may have also started with the practice
of bathing the Shivalinga several times a day with
milky water. The milky water is used to simulate
ice and snow on the top of Mount Kailash. The
pictorial representations shown below illustrate
some of the points about the bund.
The classical shape may have resulted from the
need to be economical with material. The most
economical shape which used the least amount of
material to channel the flow around a circular
Linga had to be circular.
I hope it is now abundantly clear to any rational
mind what the representations of objects in the
Shiva temple stood for in our Vedic past. The
human form of Lord Shiva’s representation is
shown in the following picture.
73
We will now investigate all the aspects and the
articles associated with Lord Shiva for their ancient
meaning and origin.
1. In the picture above the Linga itself represents a
mountain and especially the ice clad Mount Kailash
in the Himalayas from where the ancient river
Saraswati originated. Kailash in our pantheon is
stated as the abode of Lord Shiva. As we have
discussed earlier, one can see the similarity just by
looking at the various pictures presented in
Chapter-3 and in this Chapter.
2. The sun is represented on the Linga by the
sun symbol
. This is to indicate that the sun is
74
melting the ice and snow on the peaks and thus it is
the source for the creation of water for the rivers.
3. The simulation of the natural process of river
creation is done by hanging a water pot (Kalash)
over the Linga. The Kalash has a hole which allows
continuous dripping of water on the Linga to create
a flowing river and especially the river Saraswati.
4. The so called “yoni” is simply a bund
(embankment) to direct the continuously dripping
water into a stream which is a representation of
river and especially river Saraswati. Saraswati thus
created in the temple is then normally directed
outside into a Tulsi-Kyara (a bed in which the holy
Tulsi plant is sowed). Originaly there was no bund.
Then a rectangular rectangular shape (see pictures
on page 73) evolved. At the end economy of
material necessitated its shape to conform to the
round shape of the Linga (Mount Kailash).
5. The cresent moon shown with the human form of
Lord Shiva represents the ice, snow and coolness
on the peaks of the Himalayan mountains.
6. The Nandi (seated bull) is always present in front
of the door of the Shiva temple. It is appropriately
called Dwarpal (door keeper). There are several
mountain peaks shaped like a seated bull on the
way to mount Kailash from the south. They make it
difficult to reach mount Kailash. Therefore, these
mountains are depicted in the temples as seated bull
75
and are granted the status of the door keeper in the
temples. One of those peaks is shown below along
with a carved seated Nandi.
More importantly there is a huge rock in the form
of a kneeling bull which lies at the south foot hills
of
Mount
Kailash.
It
truly resembles
the Nandi seen
in
Shiva
temples. This
mount may be
the
legendry
mount Nandi
(the Dwarpal). It is shown in the above picture.
There are two rivulets which start from the Kailash
Mount and go around it. Also there are two small
lakes south of the Nandi (one black and one white).
This area is not accessible unless one tracks from
Darchen towards the north and crosses the Silung
monastory and continues further. These difficulties
created by the small Nandi like mounts are behind
the creation of the Nandi phenomenon. There is a
76
Nanda Devi peak and also Nanga Parvat in the
Himalayas which suggest an association of Nandi
with the Himalayan Mountains.
7. The association of the Serpent-Naga with Shiva
comes most probably from the shape of the jutting
rock at the summit of Mount Kailash. It is shown in
the following picture.
It is interesting to note that in the picture the inset
Kailash shows total similarity with the Shivalinga
and the enlarged area of the peak shows an
excellent conformity with a cobra hood (Naga).
This conformity may lay in the conceptualization
of the cobra’s association with the Shivalinga.
Originally the cobra hood was shown with the
Linga as it is visible on Mount Kailash. During the
Brahmanic period it has been shown separately at
various places with Shivalinga and also on the
human form of Lord Shiva.
77
8. The Damaru (tabor) in one hand of Shiva
represents the rumbling but
rhythmic sound of an earthquake
which is more precisely shown in
the destructive form of Shiva in its
Nataraja
attributes.
The
representation of Shiva as a
dancer (Nataraja) is definitely a
conceptualization of rhythmic movement of the
earth during the earthquake (Trandava Nrutya) and
consequent formation of mountains. The Nataraja
is always shown in earth like round figure.
9. The trident represents the mountain peaks
surrounding mount Kailash.
10. The Rudraksha Mala associated with Lord
Shiva represents the Himalayan
mountain ranges with folds.
The
following
pictures
illustrate the point. The first
picture shows the normal
Rudraksha Mala used by
Sanatan Holy men and which is always associated
with representation of Lord Shiva in human form.
The pictures here
show an enlarged
view of one of the
above beads and also
an arial photograph
78
of the Himalayan mountains. It is astonishing to see
the resemblance between the two.
11. Shiva’s hair (Jata) is always in the form of a
mountain peak. The picture here of Mount Kailash
shows ice and snow streams as if they form hair on
a human head. The concept of a river erupting from
Shiva’s Jata comes from this visual effect.
The hair like flows
of snow and ice from
the peak are the
beginning of the
river. This was then
the real reason for
conceptualization of
the river Saraswati
formation in the
human form of Lord
Shiva erupting from his Jata. With the loss of the
river Saraswati, that place is now assigned to the
river Ganga.
The whole concept of Lord Shiva is associated with
Mount Kailash (Himalayas) and formation of
Saraswati (and all other Himalayan rivers). Other
aspects of the destruction caused by the earth’s
movement during earthquake were attributed to it
during the later Brahmanic period of our culture.
It may even be that the cobra hood shown on the
crown of the Egyptian Pharaohs and the Crescent
79
symbol of the Middle East are derived from
attributes shown with the human form of Lord
Shiva.
If the prevalent ideas of Yoni and Linga are correct
then why do we need water dripping on the Linga?
In my village temple after worshiping Lord Shiva, I
have always gone for the Mandir Parikrama (a walk
around the temple) and have taken the Achaman
(holy water) from the Saraswati which flows out
from Kailash (Shivalinga) into the Tulsi-Kyara.
This act of taking the Achaman would, with the
prevalent concept, tantamount to bestiality.
The concept presented here is the only rational
explanation for the creation of the Shivalinga. The
fact that the abode of Lord Shiva is in Mount
Kailash (Kalash shape) and his consort is Parvati
(Parvat = pvRt, Mountain in Gujarati) also fit
correctly with our interpretation. The prevalent
paradigm of Linga-Yoni is a creation of a fertile
but irrational and irresponsible mind aided and
abated by wasted interests.
The worship of Lord Shiva in a temple is simply
the worship of the natural creation of the life
giving rivers from the ice clad Himalayan
Mountains and especially the river Saraswati
from Mount Kailash.
80
Aom, SviStk Ane i=vil&g
Aap8I snatn S&Sk<itma& 38I s&}aaAo vpray 2e. te s&}aaAo no wpyog
hjaro vqR phela&na Sv£pma& =£ 9yo hto Ane temnama& v`tnI sa9e
ferfaro 9ya hta. 38I s&}aaAonu& Asl Sv£p Ane temnI pa2X rhelo jUno
saco A9R Aap8e -UlI gya 2IAe.
6o. nrish-a: mgnlal p4el te jUna&
rhSyo srX gujratI -aqama& bhar lavI
kar8o AapI vE}aaink rIte Aap8ne Aa
puStkma& ivgtvar9I smjave 2e.
Aa puStk va&cva9I Aap8I Aaid s&}aaAono
saco A9R saibtI sa9e smja=e Ane te9I
Aap8I pura8I s&Sk<itma& [aá v0=e.
¬
The Sanatan Culture has various symbols to represent
difficult concepts. These symbols were created by our
forefathers. Over thousands of years they have gone
through several transformations. In some cases the original
concept behind the creation of those symbols has been lost.
In this book Dr Narsinhbhai Maganlal Patel brings
out the original concepts through research and clear
perception. He has presented those lost meanings in a clear
and easily understandable language.
Any reader of this extraordinary book will benefit from the
new insight brought about by his ground breaking research.

Om, Swastika and Shivalinga

Transcription

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